A FAMILY MA>g 



aALSWORTH''! 




Class :£EiJIi^ 



CDEffilGHT DEPOSIT. 



THE WORKS OF 
JOHN GALSWORTHY 

FICTION 

VILLA RUBEIN: AND OTHER STORIES 

THE ISLAND PHARISEES 

THE MAN OF PROPERTY 

THE COUNTRY HOUSE 

FRATERNITY 

THE PATRICIAN 

THE DARK FLOWER 

THE FREELANDS 

BEYOND 

FIVE TALES 

SAINTS' PROGRESS 

TATTERDEMALION 

IN CHANCERY 

TO LET 

THE FORSYTE SAGA 

The Man of Pbopebtt 
Indian Summeb op a Fobsttk 
In Chancery 
Awakening 
To Let 

STUDIES 

A COMMENTARY 

A MOTLEY 

THE INN OF TRANQUILLITY 

THE LITTLE MAN 

A SHEAF 

ANOTHER SHEAF 

ADDRESSES IN AMERICA, 1919 

POEMS 
MOODS, SONGS AND DOGGERELS 



MEMORIES (Illustrated) 
AWAKENING (Illustrated) 

PLAYS 

First Series: The Silver Box 

Joy 

Strife 
Secobto Series: The Eldest Son 

The Little Dream 

Justice 
Third Series: The Fugitive 

The Pigeon 

The Mob 

Fourth Series; A Bit o* Love 
Foundations 
The Skin Game 



SIX SHORT PLAYS 



A FAMILY MAN 



A FAMILY MAN 

IN THREE ACTS 



BY 
JOHN GALSWORTHY 



NEW YORK 

CHARLES SCRIBNER*S SONS 

1922 



Ut> 



\'5 






Copyright, 1922, bt 
CHARLES SCRIBNER'S SONS 



Printed in the United States of America 




MAY 23 1922 



©CU681012 



CAST OF ORIGINAL PRODUCTION 

At the Comedy Theatre, London, 
On May 1921 

John Builder .... Norman M'Kinnel 

Julia ....... Mary Barton 

Athene ...... Sibell Archdale 

Maud ....... Agatha Kentish 

Ralph Builder Arthur Burne 

Guy Herringhame .... Francis Lister 

Annie ....... Olive Walter 

Camille ....... Auriol Lee 

Topping . . . . . D. A. Clarke Smith 

The Mayor ..... Laurence Hanray 

Harris Eric Lugg 

Fr.'^cis Chantrey John Howell 

Moon ....... Eugene Leahy 

Martin ...... Julian D'Albie 

A Journalist ..... Reginald Bach 



CHARACTERS 



John Builder . 

Julia 

Athene . 

Maud 

Ralph Builder 

Gut Herringhame 

Annie 

Camille . 

Topping . 

The Mayor 

Harris 

Francis Chantret 

Moon 

Martin 

A Journalist . 



. Of the firm of Builder & Builder 

. His Wife 

. His elder Daughter 

. His younger Daughter 

. His Brother, and Partner 

. A Flying Man 

. A Young Person in Blue 

. Mrs. Builder's French Maid 

. Builder's Manservant 

. Of Breconridge 

. His Secretary 

. J.P. 

. A Constable 

. A Police Sergeant 

. From The Comet 



The Figure of a Poacher 

The Voices and Faces of Small Boys 



The action passes in the town of Breconridge, in 
the Midlands. 

ACT I. 

SCENE I. Builder's Study. After breakfast. 
SCENE II. A Studio. 

ACT II. Builder's Study. Lunch time. 

ACT III. 

SCENE I. The Mayor's Study. 10 a.m. the follovnng 

day. 
SCENE II. Builder's Study. The same. Noon. 
SCENE III. Builder's Study. The same. Evening, 



ACT I 




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ACT I 

SCENE I 

The study oj John Builder in the provincial town of 
Breconridge. A panelled room wherein nothing 
is ever studied, except perlmps Builder's face in 
the mirror over the fireplace. It is, hoivever, com- 
fortable, and has large leather chairs and a writing 
table in the centre, on which is a typeti^riter, and 
many papers. At the back is a large window with 
French outside shutters, overlooking the street, for 
the house is an old one, built in an age when the 
homes of doctors, lawyers and so forth were part of 
a provincial town, and not yet suburban. There 
are two or three fine old prints on the walls. Right 
and Left; and a fine old fireplace. Left, with a fender 
on which one can sit. A door. Left back, leads into 
the dining-room, and a door. Right forward, into 
the hall 

John Builder is sitting in his after-breakfast chair 
before the fire with The Times in his hands. He 
has breakfasted well, and is in that condition of 
first-pipe serenity in which the affairs of the nation 
seem almost bearable. He is a tallish, square, per- 
sonable man of forty seven, with a well-cohured, 
jowly, fullish face, marked under the eyes, which 
3 



4 A FAMILY MAN acti 

have very small pupils and a good deal of light in 
• them. His bearing has force and importance, as of a 
man accustomed to rising and ownerships, sure in 
his opinions, and not lacking in geniality when 
things go his way. Essentially a Midlander. His 
wife, a woman of forty-one, of ivory tint, with a thin, 
trim figure and a face so strangely composed as to 
be almost like a mask (essentially from Jersey) is 
putting a nib into a pen-holder, and filling an ink- 
pot at the writing-table. 
As the curtain rises Camille enters with a rather broken- 
down cardboard box containing flowers. She is a 
young woman with a good figure, a pale face, the 
warm brown eyes and complete poise of a French- 
woman. She takes the box to Mrs. Builder. 

Mrs. Builder. The blue vase, please, Camille. 

Camille fetches a vase. Mrs. Builder puts 

tlw flowers into the vase. Camille gathers 

up the debris ; and with a glance at Builder 

goes out. 

Builder. Glorious October! I ought to have a 

damned good day's shooting with Chantrey to-morrow. 

Mrs. Builder. [Arranging the flowers] Aren't you 

going to the office this morning.'' 

Builder. Well, no, I was going to take a couple 
of days off. If you feel at the top of your form, take 
a rest — then you go on feeling at the top. [He looks 
at her, as if calculating] What do you say to looking 
up Athene? 



sc.i A FAMILY MAN 5 

Mrs. Builder. [Palpably astonished] Athene? But 
you said you'd done with her? 

Builder. [Smiling] Six weeks ago; but, dash it, 
one can't have done with one's own daughter. That's 
the weakness of an Englishman; he can't keep up his 
resentments. In a town like this it doesn't do to have 
her living by herself. One of these days it'll get out 
we've had a row. That wouldn't do me any good. 

Mrs. Builder. I see. 

Builder. Besides, I miss her. Maud's so self- 
absorbed. It makes a big hole in the family, Julia. 
You've got her address, haven't you ? 

Mrs. Builder. Yes. [Very still] But do you think 
it's dignified, John.'' 

Builder. [Genially] Oh, hang dignity! I rather 
pride myself on knowing when to stand on my dignity 
and when to sit on it. If she's still crazy about Art, 
she can live at home, and go out to study. 

Mrs. Builder. Her craze was for liberty. 

Builder. A few weeks' discomfort soon cures that. 
She can't live on her pittance. She'll have found 
that out by now. Get your things on and come with 
me at twelve o'clock. 

Mrs. Builder. I think you'll regret it. She'll 
refuse. 

Builder. Not if I'm nice to her. A child could 
play with me to-day. Shall I tell you a secret, Julia ? 

Mrs. Builder. It would be pleasant for a change. 

Builder. The Mayor's coming round at eleven, 
and I know perfectly well what he's coming for. 



6 A FAMILY MAN act i 

Mbs. Builder. Well ? 

Builder. I'm to be nominated for Mayor next 
month. Harris tipped me the wink at the last Council 
meeting. Not so bad at forty-seven — h'm.'^ I can 
make a thundering good Mayor. I can do things for 
this town that nobody else can. 

Mrs. Builder. Now I understand about Athene. 
Builder [Good-humouredly] Well, it's partly that. 
But [more seriously] it's more the feeling I get that 
I'm not doing my duty by her. Goodness knows 
whom she may be picking up with! Artists are a 
loose lot. And young people in these days are the 
limit. I quite believe in moving with the times, but 
one's either born a Conservative, or one isn't. So 
you be ready at twelve, see. By the way, that French 

maid of yours, Julia 

Mrs. Builder. What about her? 
Builder. Is she — er — is she all right .-^ We don't 
want any trouble with Topping. 

Mrs. Builder. There will be none with — Topping. 

[She opens the door Left. 
Builder. I don't know; she strikes me as — very 
French. 

[Mrs. Builder smiles and passes out. 
Builder fills his second pipe. He is just tak- 
ing up the paper again when the door from 
the hall is opened, and the manservant 
Topping, driedy dark, syh-humorous, in a 
black cut-away, announces : 
Topping. The Mayor, sir, and Mr. Harris ! 



sc.i A FAMILY MAN 7 

The Mayor of Breconridge enters. He is clean- 
shaven ^ red-faced y light-eyed, about sixty , 
shrewd, poll-parroty, naturally jovial, dressed 
with the indefinable wrongness of a burgher; 
he is followed by his Secretary Habris, a 
man all eyes and cleverness. 

[Topping retires. 
Builder. [Rising] Hallo, Mayor ! What brings you 
so early ? Glad to see you. Morning, Harris ! 
Mayor. Morning, Builder, morning. 
Harris. Good-morning, sir. 
Builder. Sit down — sit down ! Have a cigar ! 

The Mayor takes a cigar, Harris a cigarette 
from his awn case. 
Builder. Well, Mayor, what's gone wrong with the 
works ? 

[He and Harris exchange a look. 

Mayor. [With his first puff] After you left the 

Council the other day. Builder, we came to a' decision. 

Builder. Deuce you did! Shall I agree with it.? 

Mayor. We shall see. We want to nominate you 

for Mayor. You willin' to stand ? 

Builder. [Stolid] That requires consideration. 
Mayor. The only alternative is Chan trey; but 
he's a light weight, and rather too much County. 
What's your objection ? 

Builder. It's a bit unexpected, Mayor. [Looks at 
Harris] Am I the right man.^ Following you, you 
know. I'm shooting with Chantrey to-morrow. What 
does he feel about it? 



8 A FAMILY MAN act i 

Mayor. What do you say, 'Arris ? 

Harris. Mr. Chantrey's a public school and Uni- 
versity man, sir; he's not what I call ambitious. 

Builder. Nor am I, Harris. 

Harris. No, sir; of course you've a high sense of 
duty. Mr. Chantrey's rather dilettante. 

Mayor. We want a solid man. 

Builder. I'm very busy, you know. Mayor. 

Mayor. But you've got all the qualifications — big 
business, family man, live in the town, church-goer, 
experience on the Council and the Bench. Better 
say "yes," Builder. 

Builder. It's a lot of extra work. I don't take 
things up lightly. 

Mayor. Dangerous times, these. Authority ques- 
tioned all over the place. We want a man that feels 
his responsibilities, and we think we've got him in you. 

Builder. Very good of you, Mayor. I don't know, 
I'm sure. I must think of the good of the town. 

Harris. I shouldn't worry about that, sir. 

Mayor. The name John Builder carries weight. 
You're looked up to as a man who can manage his own 
affairs. Madam and the young ladies well.'* 

Builder. First-rate. 

Mayor. [Rises] That's right. Well, if you'd like 
to talk it over with Chan trey to-morrow. With all 
this extremism, we want a man of principle and com- 
mon sense. 

Harris. We want a man that'll grasp the nettle, 
sir — ^and that's you. 



SCI A FAMILY MAN 9 

Builder. H'm ! I've got a temper, you know. 
Mayor. [Chuckling] We do — we do! You'll say 
*'yes," I see. No false modesty ! Come along, 'Arris, 
we must go. 

Builder. Well, Mayor, I'll think it over, and let 
you have an answer. You know my faults, and you 
know my qualities, such as they are. I'm just a plain 
Englishman. 

Mayor. We don't want anything better than that. 
I always say the great point about an Englishman is 
that he's got bottom; you maj'^ knock him off his pins, 
but you find him on 'em again before you can say 
**Jack Robinson." He may have his moments of 
aberration, but he's a sticker. Morning, Builder, 
morning! Hope you'll say "y^s." 

He shakes hands and goes out, followed by 

Harris. 
When the door is closed BL^LDER stands a 
Tnoment quite still with a gratified smile on 
his face ; then turns and scridinises himself 
in the glass over the hearth. While he is 
doing so the door from the dining-room is 
opened quietly and Camille comes in. 
Builder, suddenly seeing her reflected in 
the mirror, turns. 
Builder. What is it, Camille? 
Camille. Madame send me for a letter she say you 
have. Monsieur, from the dyer and cleaner, with a bill. 
Builder. [Feeling in his fockets] Yes — no. It's on 
the table. 



10 A FAMILY MAN act i 

[Camille goes to the writing-table and looks. 
That blue thing. 

C-\MiLLE. [Taking it up] Non, Monsieur, this is from 
the gas. 

Builder. Oh! Ah! 

He moves up to the table and turns over papers. 
Camille stands motionless close by with her 
eyes fixed on him. 
Here it is ! [He looks up, sees her looking at him, drops 
his own gaze, and hands Jier the letter. Their hands 
touch. Putting his hands in his pockets] What made 
you come to England ? 

Camille. [Demure] It is better pay. Monsieur, and 
[With a smile] the English are so amiable. 

Builder. Deuce they are! They haven't got that 
reputation. 

Camille. Oh ! I admire Englishmen. They are so 
strong and kind. 

Builder. [Bluffly flattered] H'm ! We've no man- 
ners. 

Camille. The Frenchman is more polite, but not 
in the 'eart. 

Builder. Yes. I suppose we're pretty sound at 
heart. 

Camille. And the Englishman have his life in the 
family — the Frenchman have his life outside. 

Builder. [With discomfort] H'm ! 

Camille. [With a look] Too mooch in the family — 
like a rabbit in a 'utch. 

Builder. Oh ! So that's your view of us ! 

[His eyes rest on her^ attracted biti resentfuL 



SCI A FAMILY MAN 11 

CamilIxE. Pardon, Monsieur, my tongue run away 
with me. 

Builder. [Half conscious of being led on] Are you 
from Paris .^ 

Camille. [Clasping her hands] Yes. What a town 
for pleasure — Paris ! 

Builder. I suppose so. Loose place, Paris. 

Camille. Loose ? What is that, Monsieur ? 

Builder. The opposite of strict. 

Camille. Strict ! Oh ! certainly we like life, we 
other French. It is not like England. I take this to 
Madame, Monsieur. [She turns as if to go] Excuse me. 

Builder. I thought you Frenchwomen all married 
young. 

Camille. I 'ave been married; my 'usband did die 
— en Afrique. 

Builder. You wear no ring. 

Camille. [Smiling] 1 prefare to be mademoiselle. 
Monsieur. 

Builder. [Dubiously] Well, it's all the same to us. 
[He takes a letter up from the table] You might take this 
to Mrs. Builder too. [Again their fingers touchy and 
there is a suspicion of encounter between their eyes.] 

[Camille goes out. 

Builder. [Turning to his chair] Don't know about 
that woman — she's a tantalizer. 

He compresses his lips, and is settling bach 
into his chair, when the door from the hall is 
opened and his daughter Maud comes in; 
a pretty girl, rather pale, with fine eyes. 
Though her face has a determined cast her 



12 A FAMILY MAN act i 

manner at this moment is by no means de- 
cisive. She has a letter in her hand, and ad- 
vances rather as if she were stalking her 
father y who, after a *' Hallo, Maud I'* has 
begun to read his paper. 
Maud. [Getting as far as the table] Father. 
Builder. [Not lowering the paper] Well.'* I know 
that tone. What do you want — money.'* 

Maud. I always want money, of course; but — 

but 

Builder. [Pulling out a note — abstractedly] Here's 
five pounds for you. 

Maud, advancing, takes it, then seems to find 
what she has come for more on her chest 
than ever. 
Builder. [Unconscioiis] Will you take a letter for 
me? 

Maud sits down Left of table and prepares to 
take dozen the letter. 
[Dictating] "Dear Mr. Mayor, — Referring to your call 
this morning, I have — er — given the matter very care- 
ful consideration, and though somewhat reluctant " 

Maud. Are you really reluctant, father.^ 
Builder. Go on — "To assume greater responsibili- 
ties, I feel it my duty to come forward in accordance 
with your wish. The — er — honour is one of which 
I hardly feel myself worthy, but you may rest as- 
sured " 

Maud. Worthy. But you do, you know. 
Builder. Look here ! Are you trying to get a rise 



SCI A FAMILY MAN 13 

out of me? — because you won't succeed this morn- 
ing. 

Maud. I thought you were trying to get one out of 
me. 

Builder. Well, how would you express it.'' 

Maud. "I know I'm the best man for the place, 
and so do you " 

Builder. The disrespect of you young people is 
something extraordinary. And that reminds me: 
where do you go every evening now after tea "^ 

Maud. I — I don't know. 

Builder. Come now, that won't do — ^you're never 
in the house from six to seven^ 

Maud. Well ! It has to do with my education. 

Builder. Why, you finished that two years ago ! 

Maud. Well, call it a hobby, if you like, then, 
father. 

She takes up the letter she brought in and seems 
on the point of broaching it. 

Builder. Hobby.? Well, what is it.? 

Maud. I don't want to irritate you, father. 

Builder. You can't irritate me more than by hav- 
ing secrets. See what that led to in your sister's case. 
And, by the way, I'm going to put an end to that this 
morning. You'll be glad to have her back, won't 
you.? 

Maud. [Startled] What! 

Builder. Your mother and I are going round to 
Athene at twelve o'clock. I shall make it up with 
her. She must come back here. 



14 A FAMILY MAN acti 

Maud. [Aghast, but hiding it] Oh! It's — it's no 
good, father. She won't. 

Builder. We shall see that. I've quite got over 
my tantrum, and I expect she has. 

Maud. [Earnestly] Father! I do really assure you 
she won't; it's only wasting your time, and making 
you eat humble pie. 

Builder. Well, I can eat a good deal this morning. 
It's all nonsense ! A family's a family. 

Maud. [More and more disturbed, hut hiding it] 
Father, if I were you, I wouldn't — ^really ! It's not — 
dignified. 

Builder. You can leave me to judge of that. It*s 
not dignified for the Mayor of this town to have an 
unmarried daughter as young as Athene living by 
herself away from home. This idea that she's on a 
visit won't wash any longer. Now finish that letter 
— "worthy, but you may rest assured that I shall 
do my best to sustain the — er — dignity of the oflfice." 

[Maud types desperately. 
Got that? "And — er — preserve the tradition so 
worthily " No — "so staunchly" — er — er 

Maud. Upheld. 

Builder. Ah! " — upheld by yourself. — ^Faithfully 
yours." 

Maud. [Finishing] Father, you thought Athene 
went off in a huff. It wasn't that a bit. She always 
meant to go. She just got you into a rage to make it 
easier. She hated living at home. 

Builder. Nonsense ! Why on earth should she ^ 



SCI A FAMILY MAN 15 

Maud. Well, she did! And so do [Checking 

herself] And so you see it'll only make you ridiculous 
to go. 

Builder. [Rises] Now what's behind this, Maud.'^ 

Maud. Behind Oh ! nothing ! 

Builder. The fact is, you girls have been spoiled, 
and you enjoy twisting my tail; but you can't make 
me roar this morning. I'm too pleased with things. 
You'll see, it'll be all right with Athene. 

Maud. [Very suddenly] Father ! 

Builder. [Grimly humorous] Well ! Get it off your 
chest. What's that letter about ? 

Maud. [Failing again and crumpling the letter behind 
Jier 6ac^*] Oh ! nothing. 

Builder. Everything's nothing this morning. Do 
you know what sort of people Athene associates with 
now — ^I suppose you see her.'* 

IVIaud. Sometimes. 

Builder. Well? 

Maud. Nobody much. There isn't anybody here 
to associate with. It's all hopelessly behind the 
times. 

Builder. Oh! you think so! That's the inflam- 
matory fiction you pick up. I tell you what, young 
woman — the sooner you and your sister get rid of your 
silly notions about not living at home, and making 
your own way, the sooner you'll both get married 
and make it. Men don't like the new spirit in wo- 
men — they may say they do, but they don't. 

Maud. You don't, father, I know. 



16 A FAMILY MAN act i 

Builder. Well, I'm very ordinary. If you keep 
your eyes open, you'll soon see that. 

Maud. Men don't like freedom for anybody but 
themselves. 

Builder. That's not the way to put it. [Tapping 
out his pipe] Women in your class have never had to 
face realities. 

Maud. No, but we want to. 

Builder. [Good-humouredly] Well, I'll bet you what 
you like, Athene's dose of reality will have cured her. 

Maud. And I'll bet you No, I won't ! 

Builder. You'd better not. Athene will come 
home, and only too glad to do it. Ring for Topping 
and order the car at twelve. 

As lie opens the door to pass oiU, Maud starts 
forward, hut checks herself. 

Maud. [Looking at her watch] Half -past eleven ! 
Good heavens ! 

She goes to the hell and rings. Then goes hack 
to the table, and writes an address on a hit 
of paper. 

[Topping enters Right. 

Topping. Did you ring, Miss.? 

Maud. [With the paper] Yes. Look here, Topping ! 
Can you manage — on your bicycle — now at once? 
I want to send a message to Miss Athene — awfully 
important. It's just this: "Look out! Father is 
coming." [Holding out the paper] Here's her address. 
You must get there and away again by twelve. Father 
and mother want the car then to go there. Order it be- 



SCI A FAMILY MAN 17 

fore you go. It won't take you twenty minutes on your 
bicycle. It's down by the river near the ferry. But 
you mustn't be seen by them either going or coming. 

Topping. If I should fall into their hands, Miss, 
shall I eat the despatch .'^ 

Maud. Rather! You're a brick, Topping. Hurry 
up! 

Topping. Nothing more precise, Miss.'^ 

Maud. M — ^m No. 

Topping. Very good. Miss Maud. [Conning the 
address] "Briary Studio, River Road. Look out ! 
Father is coming!" I'll go out the back way. Any 
answer ? 

Maud. No. 

[Topping nods his head and goes out, 

Maud. [To herself] Well, it's all I can do. 

[She standSy considering^ as the Cjjutauh falls. 




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SCENE II 

The Studio, to which are attaclied living rooms, might 
he rented at eighty pounds a year — some painting 
and gear indeed, hut an air of life rather tJmn of 
work. Things strevm about. Bare walls, a slop- 
ing skylight, no windows; no fireplace visible; a 
bedroom door, stage Right; a kitchen door, stage 
Left. A door. Centre back, into tlie street. The 
door knocker is going. 

From the kitchen door. Left, comes the very young per- 
son, Annie, in blotting-paper blue linen, with a 
white Dutch cap. She is pretty, her cheeks rosy, 
and her forehead puckered. She opens the street 
door. Standing outside is Topping. He steps in 
a pojce or two. 

Topping. Miss Builder live here? 
Annie. Oh! no, sir; Mrs. Heiringhame. 
Topping. Mrs. Herringhame ? Oh! young lady 
with dark hair and large expressive eyes ? 
Annie. Oh ! yes, sir. 
Topping. With an "A. B." on her linen? 

[Moves to table. 
Annie. Yes, sir. 

Topping. And "Athene Builder" on her drawings? 
19 



20 A FAMILY MAN act i 

Annie. [LooJcing at one] Yes, sir. 
Topping. Let's see. [He examines the draioing] 
Mrs. Herringhame, you said ? 
Annie. Oh! yes, sir. 
Topping. Wot oh ! 
Annie. Did you want any tiling, sir.? 
Topping. Drop the "sir," my dear; I'm the Build- 
ers' man. Mr. Herringhame in.'^ 
Annie. Oh ! no, sir. 

Topping. Take a message. I can't wait. From 
Miss Maud Builder. "Look out! Father is coming." 
Now, whichever of 'em comes in first — that's the 
message, and don't you forget it. 
Annie. Oh ! no, sir. 
Topping. So they're married ? 
Annie. Oh ! I don't know, sir. 
Topping. I see. Well, it ain't known to Builder, 
J.P., either. That's why there's a message. See? 
Annie. Oh ! yes, sir. 

Topping. Keep your head. I must hop it. From 
Miss Maud Builder. "Look out! Father is com- 
ing." 

He nodsy turns and goes, pulling the door to 
behind him, Annie stands "baf for a 
moment, 
Annie. Ah! 

She goes across to the bedroom on the Right, 
and soon returns with a suit of pyjamas, 
a toothbrush, a pair of slippers and a case 
qf razors, which she puis on the tablet and 



sen A FAMILY MAN 21 

disappears into the kitchen. She reappears 
with a bread pan, which she deposits in the 
centre of the room; then crosses again to 
the bedroom, and once more reappears with 
a clothes brush, two hair brushes, and a 
Norfolk jacket. As she stuffs all these into 
the bread pan and bears it back into the 
kitchen, there is the sound of a car driving 
up and stopping. Annie reappears at the 
kitchen door just as the knocker sounds. 
Annie. Vexin' and provokin ' ! [Knocker again. 
She opens the door] Oh ! 

[Mr. and Mrs. Builder enter. 
Builder. Mr. and Mrs. Builder. My daughter in.? 
Annie. [Confounded] Oh ! sir, no, sir. 
Builder. My good girl, not "Oh! sir, no, sir.'* 
Simply: No, sir. See.'' 
Annie. Oh ! sir, yes, sir. 
Builder. Where is she.^^ 
Annie. Oh ! sir, I don't know, sir. 
Builder. [Fixing her as though he suspected her of 
banter] Will she be back soon.? 
Annie. No, sir. 
Builder. How do you know.? 
Annie. I d-don't, sir. 

Builder. Then why do you say so.? [About to 
mutter '^ She's an idiot!'' he looks at her blushing face 
and panting figure, j)o.ts her on the shoidder and says] 
Never mind; don't be nervous. 

Annie. Oh ! yes, sir. Is that all, please, sir .? 



^^ A FAMILY MAN acti 

Mrs. Builder. \Wiih a side look ai her husband 
and a faint smile] Yes; you can go. 

Annie. Thank you, ma'am. 

She turns and hurries out into the kitchen^ 
Left. Builder gazes after her, and Mrs. 
Builder gazes at Builder with her faint 
smile. 

Builder. [After the girl is gone] Quaint and Dutch 
— ^pretty little figure! [Staring round] H'm! Ex- 
traordinary girls are! Fancy Athene preferring this 
to home. What.'* 

Mrs. Builder. I didn't say anything. 

Builder. [Placing a chair for his wife, and sitting 
down himself] Well, we must wait, I suppose. Con- 
found that Nixon legacy ! If Athene hadn't had that 
potty little legacy left her, she couldn't have done 
this. Well, I daresay it's all spent by now. I made 
a mistake to lose my temper with her. 

Mrs. Builder. Isn't it always a mistake to lose 
one's temper? 

Builder. That's very nice and placid; sort of thing 
you women who live sheltered lives can say. I often 
wonder if you women realise the strain on a business 
man. 

Mrs. Builder. [In her softly ironical voice] It seems 
a shame to add the strain of family life. 

Builder. You've always been so passive. When 
I want a thing, I've got to have it. 

Mrs. Builder. I've noticed that. 

Builder. [With a short laugh] Odd if you hadn't 



sen A FAMILY MAN 23 

iu twenty-three years. [Touching a canvas standing 
against the chair with his toe] Art! Just a pretext. 
We shall be having Maud wanting to cut loose next. 
She's very restive. Still, I oughtn't to have had that 
scene with Athene. I ought to have put quiet pressure. 

[Mrs. Builder smiles. 
Builder. What are you smiling at? 

[Mrs. Builder shrugs her shoulders. 

Look at this Cigarettes ! [He examines the brand 

on the box] Strong, very — and not good ! [He opens 
the door] Kitchen ! [He shuts it, crosses, and opens 
the door. Right] Bedroom ! 

Mrs. Builder. [To his disappearing form] Do you 
think you ought, John.'^ 

He has disappeared, and she ends vnth an 
expressive movement of her hands, a long 
sigh, and a closing of her eyes. Builder's 
peremptory voice is heard: *' Julia T' 
What now ? [She follows into the bedroom. 

The maid Annie puts her head out of the 
kitchen door; she comes out a step as if 
to fly; then, at Builder's voice, shrinks 
back into the kitchen. 
Builder, reappearing with a razor strop in 
one hand and a shaving-brush in the other, 
is folloived by Mrs. Builder. 
Builder. Explain these! My God! Where's that 
girl.^ 

Mrs. Builder. John ! Don't ! [Getting beticeen him 
and the kitchen door] It's not dignified. 



24 A FAMILY MAN act i 

Builder. I don't care a damn. 
Mrs. Builder. John, you mustn't. Athene has 
the tiny beginning of a moustache, you know. 

Builder. What! I shall stay and clear this up 
if I have to wait a week. Men who let their daughters 

! This age is the limit. 

He makes a vicious movement with the strop, 
as though laying it across someone^s back. 
Mrs. Builder. She would never stand that. Even 
wives object, nowadays. 

Builder. [Grimly] The war's upset everything. 
Women are utterly out of hand. Why the deuce 
doesn't she come ? 

Mrs. BmLDER. Suppose you leave me here to see 
her. 

Builder. [Omi7ioiisly] This is my job. 

Mrs. Builder. I think it's more mine. 

Builder. Don't stand there opposing everything 

I say ! I'll go and have another look [He is 

going towards the bedroom when the sound of a latchkey 
in the outer door arrests him. He 'puts the strop and 
brush behind his back, and adds in a low voice] Here 
she is! 

Mrs. Builder has approached him, and they 
have both turned towards the opening door. 
Guy Herringhame comes in. They are 
a little out of his line of sight, and he has 
shut the door before he sees them. When he 
does, his moidh falls open, and his hand 
on to the knob of the door. He is a comply 



sc.n A FAMILY MAN 25 

young man in Harris tweeds. Moreover, 
he is smoking. He would speak if lie could^ 
hut his stirprise is too excessive. 

Builder. Well, sir? 

Guy. [Recovering a little] I was about to say the 
same to you, sir. 

Builder. [Very red from repression] These rooms 
are not yours, are they.'* 

Guy. Nor yours, sir ? 

Builder. May I ask if you know whose they are? 

Guy. My sister's. 

Builder. Your — you ! 

Mrs. Builder. John ! 

Builder. Will you kindly tell me why your sister 
signs her drawings by the name of my daughter, 
Athene Builder — and has a photograph of my wife 
hanging there? 

The Young Man looks at Mrs. Builder and 
winces, hut recovers himself. 

Guy. [Boldly] As a matter of fact this is my sister's 
studio; she's in France — and has a friend staymg here. 

Builder. Oh ! And you have a key ? 

Guy. My sister's. 

Builder. Does your sister shave? 

Guy. I — I don't think so. 

Builder. No. Then perhaps you'll tell me what 
these mean? 

[He takes out the strop and shaving stick. 

Guy. Oh! Ah! Those things? 

Builder. Yes. Now then? 



26 A FAMILY MAN act i 

Guy. {Addressing Mrs. Builder] Need we go into 
this in your presence, ma'am? It seems rather deli- 
cate. 

Builder. What explanation have you got? 

Guy. Well, you see 

Builder. No lies; out with it! 

Guy. [With decision] I prefer to say nothing. 

Builder. What's your name ? 

Guy. Guy Herringhame. 

Builder. Do you live here? 

[Guy makes no sign, 

Mrs. Builder. [To Guy] I think you had better go. 

Builder. Julia, will you leave me to manage this? 

Mrs. Builder. [To Guy] When do you expect my 
daughter in? 

Guy. Now — dire(^tly. 

I^Irs. Buttlder. [Quietly] Are you married to her? 

Guy. Yes. That is — no-o; not altogether, I mean. 

Builder. What's that ? Say that again ! 

Guy. [Folding his arms] I'm not going to say an- 
other word. 

Builder. I am, 

Mrs. Builder. John — please ! 

Builder. Don't put your oar in ! I've had won- 
derful patience so far. [He puts his foot through a 
drawing] Art! This is what comes of it! Are you 
an artist? 

Guy. No; a flying man. The truth is 

Builder. I don't want to hear you speak the truth. 
I'll wait for my daughter. 



sen A FAMILY MAN 27 

Guy. If you do, I hope you'll be so very good as 
to be gentle. If you get angry I might too, and that 
would be awfully ugly. 

Builder. Well, I'm damned ! 

Guy. I quite understand that, sir. But, as a man 
of the world, I hope you'll take a pull before she comes, 
if you mean to stay. 
Builder. If we mean to stay ! That's good ! 
Guy. Will you have a cigarette ? 

Builder. I — I can't express 

Guy. [Soothingly] Don't try, sir. [He jerks up Ms 
chin, listening] I think that's her. [Goes to the door] 
Yes. Now, please! [He opens the door] Your father 
and mother, Athene. 

Athene enters. She is flushed mid graceful. 

Twenty-two^ vntli a short tipper lip, a straight 

nose, dark hair, and glovnng eyes. She 

wears bright colours^ and has a slow, musical 

voice, ivith a slight lisp. 

Athene. Oh! How are j'ou, mother dear.^ This 

is rather a surprise. Father always keeps his word, 

so I certainly didn't expect him. 

She looks steadfastly at Builder, but does not 
approach. 
Builder. [Controlling himself with an effort] Now, 
Athene, what's this? 
Athene. Wliat's what.^ 
Builder. [The strop held out] Are you married to 

this — this ? 

Athene. [Quietly] To all intents and purposes. 



28 A FAMILY MAN acti 

Builder. In law? 

Athene. No. 

Builder. My God ! You — ^you ! 

Athene. Father, don't call names, please. 

Builder. Why aren't you married to him ? 

Athene. Do you want a lot of reasons, or the real 
one? 

Builder. This is maddening! [Goes up stage. 

Athene. Mother dear, will you go into the other 
room with Guy ? [She points to the door Right. 

Builder. Why.^^ 

Athene. Because I would rather she didn't hear 
the reason. 

Guy. [To Athene, sotto voce] He's not safe. 

Athene. Oh! yes; go on. 

Guy follows Mrs. Builder, and after hesita- 
tion at the door they go out into the bedroom. 

Builder. Now then ! 

Athene. Well, father, if 3^ou want to know the 
real reason, it's — you. 

Builder. What on earth do you mean ? 

Athene. Guy wants to marry me. In fact, we 

But I had such a scunner of marriage from watching 
you at home, that I 

Builder. Don't be impudent! My patience is at 
breaking-point, I warn you. 

Athene. I'm perfectly serious. Father. I tell you, 
we meant to marry, but so far I haven't been able 
to bring myself to it. You never noticed how we 
children have watched you. 



Bc.n A FAMILY MAN 29 

Builder. Me? 

Athene. Yes. You and mother, and other thinipB; 
all sorts of thmgs 

Builder. [Taking out a handkerchuf and mijdng 
his brow] I really think you're mad. 

Athene. I'm sure you must, dear. 

Builder. Don't "dear" me! What have you 
noticed? D'you mean I'm not a good husband and 
father ? 

Athene. Look at mother. I suppose you can't, 
now; you're too used to her. 

Builder. Of course I'm used to her. What else 
is marrying for? 

Athene. That; and the production of such as me. 
And it isn't good enough, father. You shouldn't 
have set us such a perfect example. 

Builder. You're talking the most arrant nonsense 
I ever heard. [He lifts his hands] I've a good mind 
to shake it out of you. 

Athene. Shall I call Guy ? [He drops his hands. 

Confess that being a good husband and father has 
tried you terribly. It has usy you know. 

Builder. [Taking refuge in sarcasm] When you've 
quite done being funny, perhaps you'll tell me why 
you've behaved like a common street iBapper. 

Athene. [Simply] I couldn't bear to think of Guy 
as a family man. That's all — absolutely. It's not 
his fault; he's been awfully anxious to be one. 

Builder. You've disgraced us, then; that's what 
it comes to. 



30 A FAMILY MAN act i 

Athene. I don't want to be unkind, but you've 
brought it on yourself. 

Builder. [Genuinely distrcwted] I can't even get 
a glimmer of what you mean. I've never been any- 
thing but firm. Impatient, perhaps. I'm not an 
angel; no ordinary healthy man is. I've never grudged 
you girls any comfort, or pleasure. 

Athene. Except wills of our own. 

Builder. What do you want with wills of your 
own till you're married ? 

Athene. You forget mother ! 

BuiiiDER. What about her.'* 

Athene. She's very married. Has she a will of 
her own ? 

Builder. [Sullenly] She's learnt to know when I'm 
in the right. 

Athene. I don't ever mean to learn to know when 
Guy's in the right. Mother's forty-one, and twenty- 
three years of that she's been your wife. It's a long 
time, father. Don't you ever look at her face? 

Builder. [Troubled in a remote way] Rubbish! 

Athene. I didn't want my face to get like that. 

Builder. With such views about marriage, what 
business had you to go near a man ? Come, now ! 

Athene. Because I fell in love. 

Builder. Love leads to marriage — and to nothing 
else, but the streets. What an example to your sister ! 

Athene. You don't know Maud any more than 
you knew me. She's got a will of her own too, I can 
tell j^ou. 



8c.n A FAMILY MAN 31 

Builder. Now, look here, Athene. It's always 
been my way to face accomplished facts. What's 
done can't be undone; but it can be remedied. 

You must marry this young at once, before it 

gets out. He's behaved like a ruffian: but, by your 
own confession, you've behaved worse. You've been 
bitten by this modern disease, this — this utter lack 
of common decency. There's an eternal order in 
certain things, and marriage is one of them; in fact, 
it's the chief. Come, now. Give me a promise, and 
I'll try my utmost to forget the whole thing. 

Athene. When we quarrelled, father, you said 
you didn't care what became of me. 

Builder. I was angry. 

Athene. So you are now. 

Builder. Come, Athene, don't be childish ! Prom- 
ise me ! 

Athene. [With a little shudder] No! We were on 

the edge of it. But now I've seen you again 

Poor mother ! 

Builder. [Very angry] This is simply blasphemous. 
What do you mean by harping on your mother.^ If 
you think that — that — she doesn't — that she isn't 

Athene. Now, father! 

Builder. I'm damned if I'll sit down under this 
injustice. Your mother is — is pretty irritating, I 

can tell you. She — she Everything suppressed. 

And — and no — ^blood in her ! 

Athene. I knew it ! 

Builder. [Atvare that he has conHrmed some thought 



32 A FAMILY MAN act i 

in her that he had no intention of conjirming] What's 
that? 

Athene. Don't you ever look at your own face, 
father? When you shave, for instance. 

Builder. Of course I do. 

Athene. It isn't satisfied, is it? 

Builder. I don't know what on earth you mean. 

Athene. You can't help it, but you'd be ever so 
much happier if you were a Mohammedan, and two 
or three, instead of one, had — had learned to know 
when you were in the right. 

Builder. 'Pon my soul ! This is outrageous ! 

Athene. Truth often is. 

Builder. Will you be quiet ? 

Athene. I don't ever want to feel sorry for Guy 
in that way. 

Builder. I think you're the most immodest 

I'm ashamed that you're my daughter. If your 
mother had ever carried on as you are now 

Athene. Would you have been firm with her? 

Builder. [Really sick at heart at this unworUed 
mockery which meets him at every turn] Be quiet, 
you ! 

Athene. Has mother never turned ? 

Builder. You're an unnatural girl! Go your own 
way to hell ! 

Athene. I am not coming back home^ father. 

Builder. [Wrenching open the door. Right] Julia! 
Come ! We can't stay here. 

(Mrs. Builder comes forth, folloived by Guy. 



8c.li A FAMILY MAN 33 

As for you, sir, if you start by allowing a woman to 

impose her crazy ideas about marriage on you, all 

I can say is — I despise you. [He crosses to the outer 

door, followed by his wife. To Athene] I've done 

with you ! [Be goes out. 

Mrs. Builder, loho has so far seemed to ac- 

conipany him, shuts the door quickly and 

remainis in the studio. She stands there 

with that faint smile on her face, looking 

at the two young people. 

Athene. Awfully sorry, mother; but don't you see 

what a scunner father's given me ? 

Mrs. Builder. My dear, all men are not alike. 
Guy. I've always told her that, ma'am. 
Athene. [Softly] Oh! mother, I'm so sorry for 
you. 

The handle of the door is rattled, a fist is beaten 
on it. 
[She stamps, and covers her ears] Disgusting ! 

Guy. Shall I ? 

Mrs. Builder. [Shaking Jier head] I'm going in a 
moment. [To Athene] You owe it to me, Athene. 
Athene. Oh ! if somebody would give him a lesson ! 
[Builder's voice: "Julia!*' 
Have you ever tried, mother.'' 

Mrs. Builder looks at the Young Man, who 
turns away out of hearing. 
Mrs. Builder. Athene, you're mistaken. I've al- 
ways stood up to him in my own way. 
Athene. Oh ! but, mother — ^listen ! 



34 A FAMILY MAN acti 

The heating and rattling have recommenced, 
and the voice: '*Are you coming?^' 
[Passionately] And that's family life! Father was 
all right before he married, I expect. And now it's 

like this. How you survive ! 

Mrs. Builder. He's only in a passion, my dear. 
Athene. It's wicked. 

Mrs. Builder. It doesn't work otherwise, Athene. 
[A single loud bang on the door. 
Athene. If he beats on that door again, I shall 
scream. 

Mrs. Builder smileSy shakes her head, and 
turns to the door. 
Mrs. Builder. Now, my dear, you're going to be 
sensible, to please me. It's really best. If / say so, 
it must be. It's all comedy, Athene. 
Athene. Tragedy! 

Guy. [Turning to them] Look here! Shall I shift 
him.f^ 

Mrs. Builder shakes her head and opens the 
door. Builder stands there y a furious 
figure. 
Builder. Will you come, and le^ve that baggage 
and her cad ? 

Mrs. Builder steps quickly out and the door 
is closed. Guy makes an angry movement 
towards it. 
Athene. Guy! 

Guy. [Turning to her] That puts the top liat on. 
So persuasive ! [He takes oid of his pocket a wedding 



sen A FAMILY MAN 35 

ring, and a marriage licence] Well ! What's to be 
done with these pretty things, now ? 

Athene. Burn them ! 

Guy. [Slowly] Not quite. You can't imagine I 
should ever be like that, Athene? 

Athene. Marriage does wonders. 

Guy. Thanks. 

Athene. Oh ! Guy, don't be horrid. I feel awfully 
bad. 

Guy. Well, what do you think I feel? "Cad!" 

Tfiey turn to see Annie in hat and coat, with 
a suit-case in her hand, coming from the 
door Left. 

Annie. Oh ! ma'am, please. Miss, I want to go 
home. 

Guy. [Exasperated] She wants to go home — she 
wants to go home ! 

Athene. Guy ! All right, Annie. 

Annie. Oh ! thank you. Miss. 

[She moves across in front of them, 

Athene. [Suddenly] Annie! 

[Annie stops and turns to her. 
What arc you afraid of .^ 

Annie. [With comparative boldness] I — I might catch 
it, Miss. 

Athene. From your people ? 

Annie. Oh! no. Miss; from you. You see, I've 
got a young man that wants to marrj' me. And if 
I don't let him, I might get into trouble meself. 

Athene. What sort of father and mother have you 
got, Annie .'^ 



36 A FAMILY MAN acti 

Annie. I never thought. Miss. And of course I 
don't want to begin. 

Athene. D*you mean youVe never noticed how 
they treat each other? 

Annie. I don't think they do, Miss. 

Athene. Exactly. 

Annie. They haven't time. Father's an engine 
driver. 

Guy. And what's your young man, Annie ? 

Annie. [Embarrassed] Somethin' like you, sir. But 
very respectable. 

Athene. And suppose you marry him, and he 
treats you like a piece of furniture? 

Annie. I — I could treat him the same. Miss. 

Athene. Don't you believe that, Annie ! 

Annie. He's very mild. 

Athene. That's because he wants you. You wait 
till he doesn't. 

[Annie looks at Guy. 

Guy. Don't you believe her, Annie; if he's decent 

Annie. Oh ! yes, sir. 

Athene. [Suppressing a smile] Of course — but the 
point is, Annie, that marriage makes all the differ- 
ence. 

Annie. Yes, Miss; that's what I thought. 

Athene. You don't see. What I mean is that 
when once he's sure of you, he may change completely. 

Annie. [Slowly, looking at her thumb] Oh! I don't 
— think — he'll hammer me, Miss. Of course, I know 
you can't tell till you've found out. 

Athene. Well, I've no right to influence you. 



8c.li A FAMILY IMAN 37 

Annie. Oh! no. Miss; that's what I've been think- 
ing. 

Gut. You're quite right, Annie — this is no place 
for you. 

Annie. You see, we can't be married, sir, till he 
gets his rise. So it'll be a continual temptation to me. 

Athene. Well, all right, Annie. I hope you'll 
never regret it. 

Annie. Oh ! no. Miss. 

Guy. I say, Annie, don't go away thinking evil of 
us; we didn't realise you knew we weren't married. 

Athene. We certainly did not. 

Annie. Oh! I didn't think it right to take notice. 

Guy. We beg your pardon. 

Annie. Oh! no, sir. Only, seein' Mr. and Mrs. 
Builder so upset, brought it 'ome like. And father 
can be 'andy with a strap. 

Athene. There you are ! Force majeure ! 

Annie. Oh ! yes, Miss. 

Athene. Well, good-bye, Annie. What are you 
going to say to your people.? 

Annie. Oh ! I shan't say I've been livin' in a family 
that wasn't a family. Miss. It wouldn't do no good. 

Athene. Well, here are your wages. 

Annie. Oh ! I'm puttin' you out, Miss. 

[She takes the money. 

Athene. Nonsense, Annie. And here's your fare 
home. 

Annie. Oh! thank you, Miss. I'm very sorry. 

Of course if you was to change your mind 

[She stops, embarrassed. 



38 A FAMILY MAN acti 

Athene. I dou't think 

Guy. [Abruptly] Good-bye, Annie. Here's five bob 
for the movies. 

Annie. Oh! good-bye, sir, and thank you. I was 
goin' there now with my young man. He's just 
round the corner. 

Guy. Be very careful of him. 

Annie. Oh ! yes, sir, I will. Good-bye, sir. Good- 
bye, Miss. [She goes. 

Guy. So her father has a firm hand too. But it 
takes her back to the nest. How's that, Athene.? 

Athene. [Playing with a leathern button on his coat] 
If you'd watched it ever since you could watch any- 
thing, seen it kill out all It's having power that 

does it. I know Father's got awfully good points. 

Guy. Well, they don't stick out. 

Athene. He works fearfully hard; he's upright, 
and plucky. He's not stingy. But he's smothered 
his animal nature — and that's done it. I don't want 
to see you smother anything, Guy. 

Guy. [Gloomily] I suppose one never knows what 
one's got under the lid. If he hadn't come here to- 
day [Ue spins the wedding ring] He certainly gives 

one pause. Used he to whack you.'^ 

Athene. Yes. 

Guy. Brute! 

Athene. With the best intentions. You see, he's 
a Town Councillor, and a magistrate. I suppose they 
have to be *'firvi." Maud and I sneaked in once to 
listen to him. There was a woman who came for 



»c.n A FAMILY MAN 39 

protection from lier husband. If he'd known we were 
there, he'd have had a fit. 

Gut. Did he give her the protection.'* 

Athene. Yes; he gave her back to the husband. 
Wasn't it— English? 

Gut. [With a grunt] Hang it! We're not all like 
that. 

Athene. [Tvnsting his button] I think it's really a 
sense of property so deep that they don't know they've 
got it. Father can talk about freedom like a — ^politi- 
cian. 

Gut. [Fitting the wedding ring on her finger] Well! 
Let's see how it looks, anyway. 

Athene. Don't play with fire, Guy. 

Gut. There's something in atavism, darling; there 
really is. I like it — I do. [A knock at the door, 

Athene. That sounds like Annie again. Just see. 

Gut. [Opening the door] It is. Come in, Annie. 
What's wrong now ? 

Annie. [Entering in confimon] Oh ! sir, please, sir — 
I've told my young man. 

Athene. Well, what does he say.? 

Annie. 'E was 'orrified. Miss. 

Gut. The deuce he was! At our conduct.? 

Annie. Oh ! no, sir — at mine. 

Athene. But you did your best; you left us. 

Annie. Oh! yes. Miss; that's why 'e's horrified. 

Gut. Good for your young man. 

Annie. [Flattered] Yes, sir. 'E said I 'ad no strength 
of mind. 



40 A FAMILY MAN act i 

Athene. So you want to come back? 
Annie. Oh ! yes, Miss. 
Athene. All right. 
Guy. But what about catching it ? 
Annie. Oh, sir, 'e said there was nothing like Epsom 
salts. 

Guy. He's a wag, your young man. 
Annie. He was in the Army, sir. 
Guy. You said he was respectable. 
Annie. Oh ! yes, sir; but not so respectable as that. 
Athene. Well, Annie, get your things off, and lay 
lunch. 
Annie. Oh ! yes. Miss. 

She makes a little curtsey and passes through 
into the kitchen. 
Guy. Strength of mind! Have a little, Athene— 
won't you } 

[He holds out the marriage licence before her. 
Athene. I don't know — I don't know! If— it 

turned out 

Guy. It won't. Come on. Must take chances in 
this life. 

Athene. [Looking up into his face] Guy, promise 
me — ^solemnly that j^ou'll never let me stand in your 
way, or stand in mine ! 
Guy. Right! That's a bargain. 

[They embrace. 
Athene quivers towards him. They embrace 
fervently as Annie enters mth the bread pan. 
They spring apart. 



sen A FAMILY MAN 41 

Annie. Oh! 

Guy. It's all right, Annie. There's only one more 
day's infection before you. We're to be married to- 
morrow morning. 

Annie. Oh ! yes, sir. Won't Mr. Builder be pleased ? 

Guy. H'm ! That's not exactly our reason. 

Annie. [Right] Oh! no, sir. Of course you can't 
be a family without, can you ? 

Guy. What have you got in that thing ? 

Annie is moving across with the bread pan. 
She halts at the bedroom door, 

Annie. Oh! please, ma'am, I was to give you a 
message — very important — from Miss Maud Builder: 
"Look out! Father is coming!" [She goes aid. 

The Curtain falls. 



ACT II 



ACT II 

Builder's study. At the table, Maud ^5 just put a 
sheet of paper into a typewriter. She sits facing 
the audience, with her hands stretched over the keys. 
Maud. [To herself] I must get that expression. 

Her face assumes a furtive, listening look. 
Then she gets up, whisks to the mirror over 
the fireplace, scrutinises the expression in it, 
and going back to the table, sits down again 
with hands outstretched above the keys, and 
an accentuation of the expression. The door 
up Left is opened, and Topping appears. 
He looks at Maud, icho just turns her eyes. 
Topping. Lunch has been ready some time, Miss 
Maud. 

Maud. I don't want any lunch. Did you give it? 

Topping. Miss Athene was out. I gave the message 

to a young party. She looked a bit green, Miss. I 

hope nothing'll go wrong with the works. Shall I 

keep lunch back.? 

Maud. If something's gone wrong, they won't have 
any appetite. Topping. 

Topping. If you think I might risk it, Miss, I'd 
like to slip round to my dentist. 

[He lays a finger on his cheek. 
45 



46 A FAMILY MAN acth 

Maud. [Smiling] Oh! What race is being rim this 
afternoon, then. Topping? 

Topping. [Twinkling, and shifting his finger to ths 
side of his nose] Well, I don't suppose you've 'card of 
it, Miss; but as a matter of fact it's the Cesarwitch. 

Maud. Got anything on? 

Topping. Only my shirt, Miss. 

Maud. Is it a good thing, then? 

Topping. I've seen worse roll up. [With a touch of 
enthusiasm] Dark horse. Miss Maud, at twenty to 
one. 

Maud. Put me ten bob on. Topping. I want all 
the money I can get, just now. 

Topping. You're not the first. Miss. 

Maud. I say, Topping, do you know anything 
about the film ? 

Topping. [Nodding] Rather a specialty of mine. 
Miss. 

Maud. Well, just stand there, and give me your 
opinion of this. 

[Topping moves down Left. 
She crouches over the typewriter, lets her hands 
play on the keys; stops; assumes that listen' 
ing, furtive look ; listens again,, and lets her 
head go slowly round, preceded by her eyet; 
breaks it of, and says : 
What should you say I was ? 

Topping. Guilty, Miss. 

Maud. [With triumph] There! Then you think 
I've got it? 



ACT II A FAMILY MAN 47 

Topping. Well, of course, I couldn't say just what 
sort of a crime you'd committed, but I should think 
pretty 'ot stuflF. 

Maud. Yes; I've got them here. 

[She pats her chest* 

Topping. Really, Miss. 

Maud. Yes. There's just one point, Topping; it's 
psychological. 

Topping. Indeed, Miss.? 

Maud. Should I naturally put my hand on them; 
or would there be a reaction quick enough to stop me ? 
You see, I'm alone — ^and the point is whether the fear 
of being seen would stop me although I knew I couldn't 
be seen. It's rather subtle. 

Topping. I think there's be a rehaction. Miss. 

Maud. So do I. To touch them [She clasps her chest] 
is a bit obvious, isn't it.? 

Topping. If the haudience knows you've got 'em 
there. 

Maud. Oh ! yes, it's seen me put them. Look here, 
I'll show you that too. 

She opens an imaginary drawer, takes out some 
bits of sealing-wax, and with every circum- 
stance of stealth in face and hands, conceals 
them in her bosom, 
AU right.? 

Topping. [Nodding] Fine, Miss. You have got a 
film face. What are they, if I may ask.? 

Maud. [Reproducing the sealing-wax] The Fanshawe 
diamonds. There's just one thing here too. Topping. 



48 A FAMILY INIAN act ii 

In real life, which should I naturally do — ^put them in 
here [She touches her chest] or in my bag? 

Topping. [Touching his waistcoat — earnestly] Well ! 
To put 'em in here. Miss, I should say is more—more 
pishchological. 

IVIatjd. [Subduing her lips] Yes; but 

Topping. You see, then you've got 'em on you. 

]VL\UD. But that's just the point. Shouldn't I 
naturally think: Safer in my bag; then I can pretend 
somebody put them there. You see, nobody could 
put them on me. 

Topping. Well, I should say that depends on your 
character. Of course I don't know what your char- 
acter is. 

Maud. No; that's the beastly part of it — the author 
doesn't, either. It's all left to me. 

Topping. In that case, I should please myself. Miss. 
To put 'em in 'ere's warmer. 

Maud. Yes, I think you're right. It's more human. 

Topping. I didn't know you 'ad a taste this way. 
Miss Maud. 

Maud. More than a taste. Topping — a talent. 

Topping. Well, in my belief, we all have a vice 
about us somewhere. But if I were you. Miss, I 
wouldn't touch bettin', not with this other on you. 
You might get to feel a bit crowded. 

Maud. Well, then, only put the ten bob on if you're 
sure he's going to win. You can post the money on 
after me. I'll send you an address, Topping, because 
I shan't be here. 



ACT II A FAMILY MAN 49 

ToppDCG. [Disturbed] What ! You're not going, too. 
Miss Maud ? 

Maud. To seek my fortune. 

Topping. Oh! Hang it all, Miss, think of what 
you'll leave behind. Miss Athene's leavin' home has 
made it pretty steep, but this'll touch bottom — this 
will. 

Maud. Yes; I expect you'll find it rather difficult 
for a bit when I'm gone. Miss Baldini, you know. 
I've been studying with her. She's got me this chance 
with the movie people. I'm going on trial as the guilty 
typist ui "The Heartache of Miranda." 

Topping. [Surprised out of 'politeness] Well, I never ! 
That does sound like 'em! Are you goin' to tell the 
guv'nor, Miss ? 

[Maud nods. 
In that case, I think I'll be gettin' off to my dentist 
before the band plays. 

Maud. All right. Topping; hope you won't lose a 
tooth. 

Topping. \With a grin] It's on the knees of the 
gods. Miss, as they say in the headlines. 

[He goes. Maud stretches herself and listens. 

Maud. I believe that's them. Shivery funky. 

[She runs off up Left. 

Builder. [Entering from the hall and crossing to the 
fireplace] Monstrous ! Really monstrous ! 

Camille enters from the hall. She has a little 
collecting book in her hand. 

Builder. Well, Camille? 



50 A FAMILY MAN actii 

Camille. A sistare from the Sacred 'Eart, Monsieur 
— her little book for the orphan children. 

BmLDER. I can't be bothered — What is it? 

Camille. Orphan, Monsieur. 

Builder. H'm ! Well ! [Feeling in his breast pocket] 
Give her that. [He hands her a five-pound note. 

Camille. I am sure she will be veree grateful for 
the poor little beggars. Madame says she will not 
be coming to lunch, Monsieur. 

Builder. I don't want any, either. Tell Topping 
I'll have some coffee. 

Camille. Topping has gone to the dentist. Mon- 
sieur; 'e 'as the toothache. 

Builder. Toothache — poor devil! H'm! I'm ex- 
pecting my brother, but I don't know that I can see 
him. 

Camille. No, Monsieur ? 

Builder. Ask your mistress to come here. 

He looks upy and catching her eye, looks away. 

Camille. Yes, Monsieur. 

As she turns he looks swiftly at her, sweeping 
her up and down. She turns her head and 
catches his glance, which is swiftly dropped. 
Will Monsieur not 'ave anything to eat ? 

Builder. [Shaking his head — abruptly] No. Bring 
the coffee ! 

Camille. Is Monsieur not weU ? 

Builder. Yes — quite well. 

CAikOLLE. [Sweetening her eyes] A cutlet soubise? 
No? 



ACTH A FAMILY MAN 51 

Builder. [With a faint response in his eyes, instantly 
svbdued] Nothing ! nothing ! 

Camille. And Madame nothing too — ^Tt ! Tt ! 

With her hand on the door she looks hack, again 
catches his eyes in an engagement instantly 
broken ojf, and goes out. 

Builder. [Stock-stilly cmd staring at tJie door] That 
girl's a continual irritation to me! She's dangerous! 

What a life ! I believe that girl 

The door Left is opened and Mrs. Builder 
comes in. 

Builder. There's some coffee coming; do your 
head good. Look here, Julia. I'm sorry I beat on 
that door. I apologize. I was in a towering passion. 
I wish I didn't get into these rages. But — dash it 
all ! I couldn't walk away and leave you there. 

Mrs. Builder. Why not.^ 

Builder. You keep everything to yourself, so; I 
never have any notion what j^ou're thinking. What 
did you say to her.? 

Mrs. Builder. Told her it would never work. 

Builder. Well, that's something. She's crazy. 
D'you suppose she was telling the truth about that 
young blackguard wanting to marry her.f^ 

Mrs. Builder. I'm sure of it. 

Builder. When you think of how she's been brought 
up. You would have thought that religion alone 

Mrs. Builder. The girls haven't vxinted to go to 
church for years. They've always said thej' didn't 
see why they should go to keep up your position. I 



52 A FAMILY MAN act n 

don't know if you remember that you once caned them 
for running off on a Sunday morning. 

Builder. Well? 

Mrs. Builder. They've never had any religion 
since. 

Builder. H'm ! [He takes a short turn up the room] 
What's to be done about Athene ? 

Mrs. Builder. You said you had done with her. 

Builder. You know I didn't mean that. I might 
just as well have said I'd done with you ! Apply 
your wits, Julia! At any moment this thing may 
come out. In a little town like this you can keep 
nothing dark. How can I take this nomination for 
Mayor ? 

Mrs. Builder. Perhaps Ralph could help. 

Builder. What? His daughters have never done 
anything disgraceful, and his wife's a pattern. 

Mrs. Builder. Yes; Ralph isn't at all a family 
man. 

Builder. [Staring at her] I do wish you wouldn't 
turn things upside down in that ironical way. It 
isn't — English. 

Mrs. Builder. I can't help having been born in 
Jersey. 

Builder. No; I suppose it's in your blood. The 
French [He stops short, 

Mrs. Builder. Yes? 

Builder. Very irritating sometimes to a plain 
Englishman — that's all. 

Mrs. Builder. Shall I get rid of Camille? 



ACT II A FAMILY MAN 5S 

Builder. [Staring at lier, then dropping his glaruie] 
Camille ? What's she got to do with it ? 

Mrs. Builder. I thought perhaps you found her 
irritating. 

Builder. Why should I? 

Camille comes in from the dining-room with 
the coffee. 
Put it there. I want some brandy, please. 

Camille. I bring it, Monsieur. 

[She goes back demurely into the dining-room. 

Builder. Topping's got toothache, poor chap! 
[Pouring out the coffee] Can't you suggest any way of 
making Athene see reason.? Think of the example! 
Maud will be kicking over next. I shan't be able to 
hold my head up here. 

Mrs. Builder. I'm afraid I can't do that for you. 

Builder. {Exasperate^ Look here, Julia ! That 
wretched girl said something to me about our life 
together. What — what's the matter with that ^ 

Mrs. Builder. It is irritating. 

Builder. Be explicit. 

Mrs. Builder. We have lived together twenty- 
tlu-ee years, John. No talk will change such things. 

Builder. Is it a question of money.? You can 
always have more. You know that. [Mrs. Builder 
smiles] Oh! don't smile like tliat; it makes me feel 
quite sick ! 

Camille enters with a decanter and little 
glasses, from the dining-room. 

Camille. The brandy, sir. Monsieur Ralph Builder 
has just come. 



54 A FAMILY MAN acth 

Mbs. Builder. Ask him m, Camille. 
Camille. Yes, Madame. 

[She goes through the doorway into the hall. 

Mrs. Builder, following towards the door, 

meets Ralph Builder, a man raiJier older 

than Builder and of opposite build and 

manner. He has a pleasant, whimsical face 

and grizzled hair. 

Mbs. Builder. John wants to consult you, Ralph. 

Ralph. That's very gratifying. 

She passes him and goes out, leaving the two 
brothers eying one another. 
About the Welsh contract? 

Builder. No. Fact is, Ralph, something very 
horrible's happened. 

Ralph. Athene gone and got married ? 
Builder. No. It's — it's that she's gone and — and 
not got married. 

[Ralph utters a sympathetic whistle. 
Jolly, isn't it ? 

Ralph. To whom ? 
Builder. A young flying bounder. 
Ralph. And why.? 

Builder. Some crazy rubbish about family life, 
of all things. 

Ralph. Athene's a most interesting girl. All these 
young people are so queer and delightful. 

Builder. By George, Ralph, you may thank your 
stars you haven't got a delightful daughter. Yours 
are good, decent girls. 



ACT 11 A FAMILY MAN 55 

Ralph. Athene's tremendously good and decent, 
John. I'd bet any money she's doing this on the 
highest principles. 

Builder. Behaving like a 

Ralph. Don't say what you'll regret, old man ! 
Athene always took things seriously — bless her ! 

Builder. Julia thinks you might help. You never 
seem to have any domestic troubles. 

Ralph. No-o. I don't think we do. 

Builder. How d'you account for li? 

R.\LPH. I must ask at home. 

Builder. Dash it ! You must know ! 

Ralph. We're all fond of each other. 

Builder. Well, I'm fond of my girls too; I suppose 
I'm not amiable enough. H'm ? 

Ralph. Well, old man, you do get blood to the 
head. But what's Athene's point, exactly ? 

Builder. Family life isn't idyllic, so she thinks she 
and the young man oughtn't to have one. 

Ralph. I see. Home experience.^ 

Builder. Hang it all, a family's a family! There 
must be a head. 

Ralph. But no tail, old chap. 

Builder. You don't let your women folk do just 
as they like? 

Ralph. Always. 

Builder. What happens if one of your girls wants 
to do an improper thing ? [Ralph shrugs his slundders] 
You don't stop her? 

Ralph. Do you ? 



56 A FAMILY MAN actii 

Builder. I try to. 

Ralph. Exactly. And she does it. I don't and 
she doesn't. 

Builder. [With a short laugh] Good Lord ! I sup- 
pose you'd have me eat humble pie and tell Athene 
she can go on living in sin and offending society, and 
have my blessing to round it off. 

Ralph. I think if j^ou did she'd probably marry him. 

Builder. You've never tested your theory, I'll bet. 

Ralph. Not yet. 

Builder. There you are. 

Ralph. The suaviter in modo pays, John. The 
times are not what they were. 

Builder. Look here ! I want to get to the bottom 
of this. Do you tell me I'm any stricter than nine 
out of ten men ? 

Ralph. Only in practice. 

Builder. [Puzzled] How do you mean ? 

Ralph. Well, you profess the principles of liberty, 
but you practise the principles of government. 

Builder. H'm ! [Taking up the decanter] Have some.? 

Ralph. No, thank you. 

[BviiJDBR fills and raises his glass. 

Camille. [Entering] Madame left her coffee. 

She comes forward, holds out a cup for Builder 
to pour into, takes it and goes out. Build- 
er's glass remains suspended. He drinks 
the brandy off as she shuts the door. 

Builder. Life isn't all roses, Ralph. 

Ralph. Sorry, old man. 



ACTH A FAMILY MAN 57 

Builder. I sometimes think I try myself too high. 
Well, about that Welsh contract ? 
Ralph. Let's take it. 

Builder. If you'll attend to it. Frankly, I'm too 
upset. 

As they go towards the door into the Imll, Maud 
comes in from the dining-room^ in hat and 
coat. 
Ralph. [Catching sight of her] Hallo! All well in 
your cosmogony, Maud ? 

Maud. What is a cosmogony, Uncle .'* 
Ralph. My dear, I — I don't know. 

He goes out, followed by Builder. Maud 
goes quickly to the table, sits down and rests 
her elbows on it, her chin on her hands, look- 
ing at the door. 
Builder. [Re-entering] Well, Maud. You'd have 
won your bet ! 

Maud. Oh! father, I — I've got some news for you. 
Builder. [Staring at her] News — what.^* 
Maud. I'm awfully sorry, but I — I've got a job. 
Builder. Now, don't go saying you're going in 
for Art, too, because I won't have it. 

Maud. Art.? Oh! no! It's the [With a jerk] 

the Movies. 

Builder, who has taken up a pipe to fill, puts 
it doion. 
Builder. [Impressively] I'm not in a jokmg mood, 
Maud. I'm not joking, father. 
Builder. Then what are you talking about? 



58 A FAMILY MAN act n 

Maud. You see, I — I've got a film face, and 

Builder. You've what? [Going up to his daughter, 
he takes hold of her chin] Don't talk nonsense ! Your 
sister has just tried me to the limit. 

Maud. [Removing his hand from her chin] Don't 
oppose it, father, please ! I've always wanted to earn 
my own living. 

Builder. Living! Living! 

IVIaud. [Gathering determination] You can't stop me, 
father, because I shan't need support. I've got quite 
good terms. 

Builder. [Alynost choking, hut mastering himself,] 
Do you mean to say you've gone as far as that? 

Maud. Yes. It's all settled. 

Builder. Who put you up to this ? 

Maud. No one. I've been meaning to, ever so 
long. I'm twenty-one, you know. 

Builder. A film face! Good God! Now, look 
here! I will not have a daughter of mine mixed up 
with the stage. I've spent goodness knows what on 
your education — both of you. 

Maud. I don't want to be ungrateful; but I — I 
can't go on living at home. 

Builder. You can't ! Why? You've every 

indulgence. 

Maud. [Clearly and coldly] I can remember oc- 
casions when your indulgence hurt, father. [She 
wriggles her shoulders and hack] We never forgot or 
forgave tliat. 

Builder. [Uneasily\ That! You were just kids. 



1 



ACT II A FAMILY MAN 59 

Maud. Perhaps you'd like to begin again? 

Builder. Don't twist my tail, Maud. I had the 
most painful scene with Athene this morning. Now 
come ! Give up this silly notion ! It's really too 
childish ! 

Maud. [Looking at him curiously] I've heard you 
say ever so many times that no man was any good 
who couldn't make his own way, father. Well, women 
are the same as men, now. It's the law of the coun- 
try. I only want to make my own way. 

Builder. [Trying to subdue his anger] Now, Maud, 
don't be foolish. Consider my position here — a Town 
Councillor, a Magistrate, and Mayor next year. With 
one daughter living with a man she isn't married to 

Maud. [With lively interest] Oh ! So you did catch 
them out.'^ 

Builder. D'you mean to say you knew ? 

Maud. Of course. 

Builder. My God ! I thought we were a Christian 
family. 

Maud. Oh ! father. 

Builder. Don't sneer at Christianity ! 

Maud. There's only one thing WTong with Chris- 
tians — they aren't! 

Builder seizes her by the shoulders and shakes 
her vigorously. When he drops her shoulders, 
she gets wp, gives him a vicious look, and 
suddenly stamps her foot on his toe with all 
her might. 

Builder. [With a yowl of pain] You little devil ! 



60 A FAMILY MAN act n 

Maud. [Who has put the table between them] I won't 
stand being shaken. 

Builder. [Staring at her across the table] You've 
got my temper up and you'll take the consequences. 
I'll make you toe the line. 

Maud. If you knew what a Prussian expression 
you've got ! 

Builder passes his hand across his face un- 
easily, as if to wipe something off. 
No ! It's too deep ! 

Builder. Are you my daughter or are you not.^* 

Maud. I certainly never wanted to be. I've always 
disliked you, father, ever since I was so high. I've 
seen through you. Do you remember when you used 
to come into the nursery because Jenny was pretty.'* 
You think we didn't notice that, but we did. And 
in the schoolroom — Miss Tipton. And d'you re- 
member knocking our heads together? No, you 
don't; but we do. And 

Builder. You disrespectful monkey! Will you 
be quiet .f* 

Maud. No; you've got to hear things. You don't 
really love anybody but yourself, father. What's 
good for you has to be good for everybody. I've 
often heard you talk about independence, but it's 
a limited company and you've got all the shares. 

Builder. Rot; only people who can support them- 
selves have a right to independence. 

Maud. That's why you don't want me to support 
myself. 



ACTH A FAMILY MAN 61 

Builder. You can't ! Film, indeed ! You'd be 
in the gutter in a year. Athene's got her pittance, but 
you — you've got nothing. 

Maud. Except my face. 

Builder. It's the face that brings women to ruin, 
my girl. 

Maud. Well, when I'm there I won't come to you 
to rescue me. 

Builder. Now, mind — if you leave my house, I've 
done with you. 

JVIaud. I'd rather scrub floors now, than stay. 

Builder. [Almost pathetically] Well, I'm damned! 
Look here, Maud — all this has been temper. You 
got my monkey up. I'm sorry I shook you; you've 
had your revenge on my toes. Now, come! Don't 
make things worse for me than they are. You've all 
the liberty you can reasonably want till you marry. 

Maud. He can't see it — he absolutely can't ! 

Builder. See what.f* 

Maud. That I want to live a life of my own. 

He edges nearer to her, and she edges to keep 
her distance. 

Builder. I don't know what's bitten you. 

Maud. The microbe of freedom; it's in the air. 

Builder. Yes, and there it'll stay — that's the first 
sensible word you've uttered. Now, come! Take 
your hat off, and let's be friends ! 

Maud looks at him and slowly takes off her hat. 

Builder. [Relaxing his attitudey with a sigh of relief] 
That's right ! [Crosses to fireplace]. 



62 A FAMILY IVIAN act u 

Maud. [Springing to the door leading to tJie hall] 
Good-bye, father ! 

Builder. [Following Jier\ Monkey ! 

At the sound of a bolt shot. Builder goes 
up to the window. There is a fumbling at 
the doory and Camille appears. 
Builder. What*s the matter with that door? 
Camille. It was bolted. Monsieur. 
Builder. Who bolted it.^ 

Camille. [Shrugging her shoulders] 1 can't tell, 
Monsieur. [She collects the cups, and halts close to him. 
Softly] Monsieur is not 'appy. 

Builder. [Surprised] What .'* No ! Who'd be happy 
in a household like mine ? 

Camille. But so strong a man — ^I wish I was a 
strong man, not a weak woman. 

Builder. [Regarding her with reluctant admiration] 
Why, what's the matter with you ? 

Camille. Will Monsieur have another glass of 
brandy before I take it? 
Builder. No ! Yes — I will. 

She pours it out, and he drinks it, hands her 
the glass and sits down suddenly in an arm- 
chair. Camille put^ the glass on a tray, 
and looks for a box of matches from the 
mantelshelf. 
Camille. A light, Monsieur? 
Builder. Please. 

Camille. [She trips over his feet and sinks on to his 
knee] Oh ! Monsieur ! 



ACTn A FAMILY MAN 63 

BviIjDER flames up and catches her in his arms. 
Oh ! Monsieur ! 
Builder. You little devil ! 

She suddenly kisses him, and he returns the 
kiss. While they are engaged in this en- 
trancing occupation, Mrs. Builder opens 
the door from the hall, watches unseen for 
a few seconds, and quietly goes out again. 
Builder. [Pushing her back from him, whether at 
the sound of the door or of a still small voice] What am 
I doing.'* 

Camille. Kissing. 

Builder. I — ^I forgot myself. [They rise. 

CAanLLE. It was na-ice. 

Builder. I didn't mean to. You go away — go 
away! 

Cajviille. Oh ! Monsieur, that spoil it. 
Builder. [Regarding her fixedly] It's my opinion 
you're a temptation of the devil. You know you sat 
down on purpose. 

Camille. Well, perhaps. 

Builder. What business had you to ? I'm a family 
man. 

Camille. Yes. What a pity ! But does it matter ? 
Builder. [Much beset] Look here, you know ! This 
won't do! It won't do! I — I've got my reputation 
to think of ! 

Camille. So 'ave I! But there is lots of time to 
think of it in between. 



64 A FAMILY MAN acth 

Builder. I knew you were dangerous. I always 
knew it. 

Camille. What a thing to say of a little woman! 

Builder. We're not in Paris. 

Camille. [Clasping her hands] Oh ! 'Ow I wish we 
was! 

Builder. Look here — I can't stand this; you've 
got to go. Out with you ! I've always kept a firm 
hand on myself, and I'm not going to 

Camille. But I admire you so ! 

Builder. Suppose my wife had come in? 

Camille. Oh! Don't suppose any such a dis- 
agreeable thing ! If you were not so strict, you would 
feel much 'appier. 

Builder. [Staring at her] You're a temptress ! 

Camille. I lofe pleasure, and I don't get any. And 
you 'ave such a duty, you don't get any sport. Well, 
I am 'ere ! 

She stretches herself, and Builder utters a 
deep sound. 

Builder. [On the edge of succumbing] It's all against 
my — I won't do it ! It's — it's wrong ! 

Camille. Oh ! La, la ! 

Builder. [Suddenly revolting] No! If you thought 
it a sin — I — might. But you don't; you're nothing but 
a — a, little heathen. 

Camille. Why should it be better if I thought it 
a sin? 

Builder. Then — ^then I should know where I was. 
As it is 



ACTH A FAMILY MAN 65 

Camille. The English 'ave no idea of pleasure. 
They make it all so coarse and virtuous. 

Builder. Now, out you go before I ! Go on! 

He goes over to tlie door and open^ it. His wife 
is outside in a hat and coat. She comes in, 
[Stammering] Oh ! Here you are — I wanted you. 

Camille, taking up the tray, goes out Lefty 
swinging her hips a very little. 

Builder. Going out? 

Mrs. Builder. Obviously. 

Builder. Where? 

Mrs. Builder. I don't know at present. 

Builder. I wanted to talk to you about — Maud. 

Mrs. Builder. It must wait. 

Blhlder. She's — she's actually gone and 

Mrs. Builder. I must tell you that I happened to 
look in a minute ago. 

Builder. [In absolute dismay] You! You what? 

Mrs. Builder. Yes. I will put no obstacle in the 
way of your pleasures. 

Blhlder. [Aghast] Put no obstacle? What do you 
mean? Julia, how can you say a thing like that? 
Why, I've only just 

Mrs. Builder. Don't ! I saw. 

Builder. The girl fell on my knees. Julia, she 
did. She's — she's a little devil. I — I resisted her. 
I give you my word there's been nothing beyond a 
kiss, under great provocation. I — I apologise. 

Mrs. Builder. [Bows her head] Thank you! I 
quite understand. But you must forgive my feeling 
it impossible to remain a wet blanket any longer. 



66 A FAMILY MAN acth 

Builder. "What! Because of a little thing like 
that — ^all over in two minutes, and I doing my utmost. 

Mrs. Builder. My dear John, the fact that you 
had to do your utmost is quite enough. I feel con- 
tinually humiliated in your house, and I want to 
leave it — quite quietly, without fuss of any kind. 

Builder. But — my God! Julia, this is awful — 
it's absurd ! How can you ? I'm your husband. 
Really — your saying you don't mind what I do — it's 
not right; it's immoral ! 

Mrs. Builder. I'm afraid you don't see what goes 
on in those who live with you. So, I'll just go. Don't 
bother ! 

Builder. Now, look here, Julia, you can't mean 
this seriousl3\ You can't! Think of my position! 
You've never set yourself up against me before. 

Mrs. Builder. But I do now. 

Builder. [After staring at her] I've given you no 
real reason. I'll send the girl away. You ought to 
thank me for resisting a temptation that most men 
would have yielded to. After twenty-three years of 
married life, to kick up like this — ^you ought to be 
ashamed of yourself. 

Mrs. Builder. I'm sure you must think so. 

Builder. Oh ! for heaven's sake don't be sarcastic ! 
You're my wife, and there's an end of it; you've no 
legal excuse. Don't be absurd ! 

Mrs. Builder. Good-bye! 

Builder. D'you realise that you're encouraging me 
to go wrong? That's a pretty thing for a wife to do. 
You ought to keep your husband straight. 



ACT II A FAMILY MAN 67 

Mrs. Builder. How beautifully put ! 

Builder. [Almost pathetically] Don't rile me, Julia ! 
I've had an awful day. First Athene — then Maud — 
then that girl — and now you! All at once like this! 
Like a swarm of bees about one's head. [Pleading] 
Come, now, Julia, don't be so — so impracticable ! 
You'll make us the laughing-stock of the whole town. 
A man in my position, and can't keep his own family; 
it's preposterous ! 

Mrs. Builder. Your own family have lives and 
thoughts and feelings of their own. 

Builder. Oh ! This damned Woman's business ! 
I knew how it would be when we gave you the vote. 
You and I are married, and our daughters are our 
daughters. Come, Julia. Where's your common- 
sense ? After twenty-three years ! You know I can't 
do without you ! 

Mrs. Builder. You could — quite easily. You can 
tell people what you like. 

Builder. My God! I never heard anything so 
immoral in all my life from the mother of two grown- 
up girls. No wonder they've turned out as they 
have! What is it you want, for goodness sake? 

Mrs. Builder. We just want to be away from you, 
that's all. I assure you it's best. When you've 
shown some consideration for our feelings and some 
real sign that we exist apart from you — ^we could be 
friends again — perhaps — I don't know. 

Builder. Friends ! Good heavens ! With one's 
own wife and daughters! [With great earnestness] 
Now, look here, Julia, you haven't lived with me 



68 A FAMILY MAN acth 

all this time without knowing that I'm a man of 
strong passions; I've been a faithful husband to you — 
yes, I have. And that means resisting all sorts of 
temptations you know nothing of. If you withdraw 
from my society I won't answer for the consequences. 
In fact, I can't have you withdrawing. I'm not 
going to see myself going to the devil and losing the 
good opinion of everybody round me. A bargain's a 
bargain. And until I've broken my side of it, and I 
tell you I haven't — ^j'ou've no business to break yours. 
That's flat. So now, put all that out of your head. 

Mrs. Builder. No. 

Builder. [Intently] D'you realise that I've sup- 
ported you in luxury and comfort.'* 

Mrs. Builder. I think I've earned it. 

Builder. And how do you propose to live.' I 
shan't give you a penny. Come, Julia, don't be such 
an idiot! Fancy letting a kiss which no man could 
have helped, upset you like this ! 

Mrs. Builder. The Camille, and the last straw ! 

Builder. [Sharply] I won't have it. So now you 
know. 

[But Mrs, Builder has very swiftly gone. 

Julia, I tell you [The outer door is heard being 

closed] Damnation! I will not have it! They're all 
mad ! Here — where's my hat ? 

He looks distractedly round him, wrenches open 
the door, and a moment later the street door 
is heard to shut with a bang, 
Cxjrtain. 



ACT III 



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ACT III 

SCENE I 

Ten o'clock the following morningy in the study of the 
Mayor of Breconridgey a panelled room with no 
window visibhy a door Left back and a door Right 
forward. The entire back wall is furnished wick 
books from floor to ceiling; the other walls are 
'panelled and bare. Before the ftreplacCy Lefty are 
two armchairsy and other chairs are against the 
walls. On the Right is a writing-bureau at right 
angles to the footlights, with a chair behind it. At 
its back corner stands Harris, telephoning. 

Harris. What — [Pause] Well, it's infernally awk- 
ward. Sergeant. . . . The Mayor's in a regular 
stew. . . . [Listens] New constable? I should think 
so ! Young fool ! Look here, Martin, the only thing 
to do is to hear the charge here at once. I've sent for 
Mr. Chan trey; he's on his way. Bring Mr. Builder 
and the witnesses round sharp. See ? And, I say, for 
God's sake keep it dark. Don't let the Press get on to 

it. Why you didn't let him go home ! Black 

eye.? The constable? Well, serve him right. Blun- 

derLQg young ass! I mean, it's undermining all au- 

71 



72 A FAMILY MAN act m 

thority. . . . Well, you oughtn't — at least, I . . . 

Damn it all ! — it's a nine days' wonder if it gets out ! 

All right! As soon as you can. [He hangs up the re- 
ceiver, puts a second chair behind the hureaUy and other 
chairs facing it.] [To himself] Here's a mess ! Johnny 
Builder, of all men ! What price Mayors ! 

[The telephone rings. 
Hallo? . . . Poaching charge? Well, bring him too; 
only, I say, keep him back till the other's over. By 
the way, Mr. Chantrey's going shooting. He'll v/ant 
to get off by eleven. What ? . . . Righto ! 

As he hangs up the receiver the Mayor enters. 
He looks worried^ and is still dressed with the 
indefinable ivrongness of a burgher. 

Mayor. Well, 'Arris? 

Harris. They'll be over in five minutes, Mr. Mayor. 

Mayor. Mr. Chan trey? 

Harris. On his way, sir. 

Mayor. I've had some awkward things to deal 
with in my time, 'Arris, but this is just about the 
[Sniffs] limit. 

Harris. Most uncomfortable, sir; most uncom- 
fortable ! 

Mayor. Put a book on the chair, 'Arris; I like to 
sit 'igh. 

Harris puts a volume of Encyclopoedia on 
the Mayor^s chair behind the bureau. 
[Deeply] Our fellow-magistrate ! A family man ! In 
my shoes next year. I suppose he won't be, now. 
You can't keep these things dark. 



SCI A FAMILY MAN 73 

Harris. I've warned Martin, sir, to use the utmost 
discretion. Here's Mr. Chan trey. 

By the door Left, a pleasant and comely gentle- 
man has entered, dressed with indefinable 
rightness in shooting clothes* 

Mayor. Ah, Chantrey ! 

Chantrey. How de do, Mr. Mayor? [Nodding to 
Harris] This is extraordinarily unpleasant. 

[The !Mayor nods. 
What on earth's he been doing.? 

Harris. Assaulting one of his own daughters with 
a stick; and resisting the police. 

Chantrey. [With a low whistle] Daughter ! Charity 
begins at home. 

Harris. There's a black eye. 

Mayor. Whose.? 

Harris. The constable's. 

Chantrey. How did the police come Into it.? 

Harris. I don't know, sir. The worst of it is he's 
been at the police station since four o'clock yesterda}'. 
The Superintendent's away, and Martin never will 
take responsibility. 

Chantrey. By George! he will be mad. John 
Builder's a choleric fellow. 

Mayor. [Nodding] He is. 'Ot temper, and an 'igh 
sense of duty. 

Harris. There's one other charge, Mr. Mayor — 
poaching. I told them to keep that back till after. 

Chantrey. Oh, well, we'll make short work of 
that. I want to get off by eleven, Harris. I shall 



74 A FAMILY MAN act m 

be late for the first drive anyway. John Builder! 

I say. Mayor — but for the grace of God, there go we ! 

Mayor. Harris, go out and bring them in yourself; 

don't let the servants [Harris goes out Left. 

The INIayor takes the upper chair behind the 
bureau, sitting rather higher because of the 
book than Chantrey, who takes the lower. 
Now that they are in the seats of justice^ a 
sort of reticence falls on them, as if they 
were afraid of giving away their attitudes 
of mind to some unseen presence. 
Mayor. [Suddenly] H'm! 

Chantrey. Touch of frost. Birds ought to come 
well to the gims — ^no wind. I like these October days. 
IMayor. I think I 'ear them. H'm. 

Chantrey drops his eyeglass and puis on a 
pair of *' grandfather'* spectacles. The 
Mayor clears his throat and takes up a 
pen. They neither of them look up as the 
door is opened and a little procession files 
in. First Harris; tlien Ralph Builder, 
Athene, Herringhame, Maud, Mrs. 
Builder, Sergeant Martin, carrying a 
heavy Malacca cane with a silver knob; 
John Builder and the Constable Moon, 
a young man with one black eye. No 
funeral was ever attended by mutes so solemn 
and dejected. They stand in a sort of row. 
Mayor. [Without looking up] Sit down, ladies; sit 
down. 



SCI A FAMILY MAN 75 

Harris and Herringhame succeed in -plac- 
ing the three xoomen in chairs. Ralph 
Builder also sits. Herringhame stands 
behind. John Builder remains standing 
between the Two Policemen. His face 
is unshaved and menacing^ but he stands 
erect staring straight at the Mayor. Harris 
goes to the side of the bureau, Back, to take 
down the evidence. 
Mayor. Charges! 

Sergeant. John Builder, of The Cornervvays, 
Breconridge, Contractor and Justice of the Peace, 
charged with assaulting his daughter Maud Builder 
by striking her with a stick in the presence of Con- 
stable Moon and two other persons; also with resisting 
Constable Moon in the execution of his duty, and 
injuring his eye. Constable Moon ! 

Moon. [Stepping forward — one, two — like an aidom- 
aton, and saluting] In River Road yesterday after- 
noon. Your Worship, about three-thirty p.m., I was 
attracted by a young woman callin' "Constable" 
outside a courtyard. On hearing the words "Follow 
me, quick," I followed her to a painter's studio inside 
the courtyard, where I found three persons in the act 
of disagreement. No sooner 'ad I appeared than the 
defendant, who was engaged in draggin' a woman 
towards the door, turns to the young woman who 
accompanied me, with violence. "You dare, father,'* 
she says; whereupon he hit her twice with the stick 
the same which is produced, in the presence of myself 



76 A FAMILY MAN act ra 

and the two other persons, which I'm given to under- 
stand is his wife and other daughter. 

Mayor. Yes; never mind what you're given to 
understand. 

Moon. No, sir. The party struck turns to me and 
says, "Come in. I give this man in charge for assault." 
I moves accordingly with the words: "I saw you. 
Come along with me." The defendant turns to me 
sharp and says: "You stupid lout — I'm a magistrate." 
"Come off it," I says to the best of my recollection. 
**You struck this woman in my presence," I says, 
"and you come along!" We were then at close 
quarters. The defendant gave me a push with the 
words "Get out, you idiot!" "Not at all," I replies, 
and took 'old of his arm. A struggle ensues, in the 
course of which I receives the black eye which I here- 
with produce. [He touches his eye with awful solemnity. 
The Mayor dears his throat; Chantrey's 
eyes goggle; Harris bends over and writes 
rapidly. 
During the struggle. Your AVorship, a young man has 
appeared on the scene, and at the instigation of the 
young woman, the same who was assaulted, assists 
me in securing the prisoner, whose language and 
resistance was violent in the extreme. We placed 
him in a cab which we found outside, and I conveyed 
him to the station. 

Chantrey. What was his — er — conduct in the — 
er — cab ? 

Moon. He sat quiet. 



SCI A FAMILY MAN 77 

Chantrey. That seems 



Moon. Seein' I had his further arm twisted behind 
him. 

Mayor. [Looking at Builder] Any questions to ask 
him.f* 

Builder makes not the faintest sign^ and the 
Mayor drops his glance. 
Mayor. Sergeant? 

Moon steps hack two paces, and the Sergeant 
steps two paces forward. 
Sergeant. At ten minutes to four. Your Worship, 
yesterday afternoon. Constable Moon brought the 
defendant to the station in a four-wheeled cab. On 
his recounting the circumstances of the assault, they 
were taken down and read over to the defendant with 
the usual warning. The defendant said nothing. 
In view of the double assault and the condition of 
the constable's eye, and in the absence of the Superin- 
tendent, I thought it my duty to retain the defendant 
for the night. 

Mayor. The defendant said nothing? 
Sergeant. He 'as not opened his lips to my knowl- 
edge, Your Worship, from that hour to this. 
Mayor. Any questions to ask the Sergeant? 

Builder continues to stare at the Mayor wUh- 
out a word. 
Mayor. Very well ! 

The Mayor and Chantrey now consult each 
other inaudiblyy and the Mayor nods. 



78 A FAMILY MAN act m 

Mayor. Miss Maud Builder, will you tell us what 
you know of this — er — occourrence? 

Maud. [Rising; with eyes turning here and there] 
Must I.? 

Mayor. I'm afraid you must. 

IMaud. [After a look at her father, 2oho never turns 
his eyes from the Mayor's face\ I — I wish to with- 
draw the charge of striking me, please. I — I never 
meant to make it. I was in a temper — I saw red. 

Mayor. I see. A — a domestic disagreement. Very 
well, that charge is withdrawn. You do not appear 
to have been hurt, and that seems to me quite proper. 
Now, tell me what you know of the assault on the 
constable. Is his account correct? 

JMaud. [Timidly] Ye-yes. Only 

Mayor. Yes? Tell us the truth. 

Maud. [Resolutely] Only, I don't think my father 
hit the constable. I think the stick did that. 

Mayor. Oh, the stick? But — er — the stick was in 
'is 'and, wasn't it? 

Maud. Yes; but I mean, my father saw red, and 
the constable saw red, and the stick flew up between 
them and hit him in the eye. 

Chantrey. And then he saw black ? 

Mayor. [With corrective severity] But did 'e 'it 'im 
with the stick ? 

Maud. No-no. I don't think he did. 

Mayor. Then who supplied the — er — momentum? 

Maud. I think there was a struggle for the cane, 
and it flew up. 



SCI A FAMILY IVIAN 79 

Mayoh. Hand up the cane. 

The Sergeant hands up the cane. The 
Mayor ajid Chantrey examine it. 

Mayor. Which end — do you suggest — inflicted this 
injury ? 

Maud. Oh ! the knob end, sir. 

Mayor. What do you say to that, constable? 

Moon. [Stepping the mechanical tivo paces] I don't 
deny there was a struggle. Your Worship, but it's 
my impression I was 'it. 

Chantrey. Of course you were hit; we can see 
that. But with the cane or with the fist ? 

Moon. [A little flurried] I — ^I — -with the fist, sir. 

Mayor. Be careful. Will you swear to that.? 

Moon. [With that sudden uncertainty which comes 
over the most honest in such circumstances] Not — ^not 
so to speak in black and white. Your Worship; but 
that was my idea at the time. 

Mayor. You won't swear to it? 

Moon. I'll swear he called me an idiot and a lout; 
the words made a deep impression on me. 

Chantrey. [To himself] Mort aux vachesi 

IVIayor. Eh.? That'll do, constable; stand back. 
Now, who else saw the struggle? Mrs. Builder. 
You're not obliged to say anything unless you like. 
That's your privilege as his wife. 

While he is speaking tJie door has been opened, 
and Harris has gone swiftly to it, spoken 
to someone and returned. He leans forward 
to the Mayor. 



80 A FAMILY MAN act m 

Eh? Wait a minute. Mrs. Builder, do you wish to 
give evidence? 

Mks. Builder. [Rising] No, Mr. Mayor. 

[Mrs. Builder sits. 
Mayor. Very good. [To Harris] Now then, what 
is it? 

Harris says something in a low and concerned 
voice. The Mayor's face lengthens. He 
leans to his right and consults Chantrey, 
who gives a faint and deprecating shrug. A 
moment's silence. 
Mayor. This is an open Court. The Press have 
the right to attend if they wish. 

Harris goes to the door and admits a young 
man in glasses, of a pleasant C.3 appear- 
ance, and indicates to him a chair at the back. 
At this untimely happening Builder's eyes 
have moved from side to side, but now he 
regains his intent and bull-like stare at his 
fellow-justices. 
Mayor. [To Maud] You can sit down, Miss Builder. 

[Maud resumes her seat. 
Miss Athene Builder, you were present, I think ? 
Athene. [Rising] Yes, sir. 
Mayor. What do you say to this matter? 
Athene. I didn't see anything very clearly, but I 
think my sister's account is correct, sir. 

Mayor. Is it your impression that the cane in- 
flicted the injury? 
Athene. [In a low voice] Yes. 



SCI A FAMILY MAN 81 

Mayor. With or without deliberate intent? 
Athene. Oh ! without. 

[Builder looks at her. 
Mayor. But you were not in a position to see very 
well? 
Athene. No, sir. 

Mayor. Your sister having withdrawn her charge, 
we needn't go into that. Very good ! 

[He motions her to sit down. 
Athene, turning her eyes on her Father^s 
impassive figure, sits. 
Mayor. Now, there was a young man. [Pointing 
to Herringhame] Is this the young man? 
Moon. Yes, Your Worship. 
Mayor. What's your name ? 
Guy. Guy Herringhame. 
M\YOR. Address? 
Guy. Er — the Aerodrome, sir. 
Mayor. Private, I mean? 

[The moment is one of considerable tension. 
Guy. [With an effort] At the moment, sir, I haven't 
one. I've just left my diggings, and haven't yet got 
any others. 

Mayor. H'm! The Aerodrome. How did you 
come to be present? 

Guy. I — er 

Builder's eyes go round and rest on him for 
a moment. 
It's in my sister's studio that Miss Athene Builder 



82 A FAMILY MAN act m 

is at present working, sir. I just happened to — to 
turn up. 

Mayor. Did you appear on the scene, as the con- 
stable says, during the struggle ? 

Guy. Yes, sir. 

Mayor. Did he summon you to his aid? 

Guy. Ye No, sir. Miss Maud Builder did that. 

Mayor. What do you say to this blow ? 

Guy. [Jerking his chin up a little] Oh ! I saw that 
clearly. 

Mayor. Well, let us hear. 

Guy. The constable's arm struck the cane violently 
and it flew up and landed him in the eye. 

Mayor. [With a little grunt] You are sure of that? 

Guy. Quite sure, sir. 

Mayor. Did you hear any language? 

Guy. Nothing out of the ordinary, sir. One or 
two damns and blasts. 

Mayor. You call that ordinary ? 

Guy. Well, he's a — magistrate, sir. 

The Mayor utters a profmmd grunt. Chan- 
trey smiles. There is a silence. Then 
the Mayor leans over to Chantrey for a 
short colloquy. 

Chantrey. Did you witness any particular violence 
other than a resistance to arrest? 

Guy. No, sir. 

Mayor. [With a gesture of dismissal] Very well. 
That seems to be the evidence. Defendant John 
Builder — what do you say to all this? 



SCI A FAMILY MAN 83 

Builder. [In a voice different from any we have 
heard from him] Say ! What business had he to 
touch me, a magistrate? I gave my daughter two 
taps with a cane in a private house, for interfering 
with me for taking my M^ife home 

Mayor. That charge is not pressed, and we can't 
go into the circumstances. ^Vhat do you wish to say 
about your conduct towards the constable ? 

Builder, [hi his throat] Not a damned thing ! 

IMayor. [Embarrassed] I — ^I didn't catch. 

Chantrey. Nothing — nothing, he said, Mr. Mayor. 

Mayor. [Clearing his throat] I understand, then, 
that you do not wish to h'offer any explanation? 

Builder. I consider myself abominably treated, 
and I refuse to say another word. 

Mayor. [Drily] Very good. Miss Maud Builder. 

[Maud stands up. 

Mayor. When you spoke of the defendant seeing 
red, what exactly did you mean? 

Maud. I mean that my father was so angry that 
he didn't know what he was doing. 

Chantrey. Would you say as angry as he — er — is 
now? 

Maud. [With a faint smile] Oh ! much more angry. 
[Ralph Builder stands up, 

Ralph. Would you allow me to say a word, Mr. 
Mayor ? 

Mayor. Speaking of your own knowledge, Mr. 
Builder ? 

Ralph. In regard to the state of my brother'^ 



84 A FAMILY MAN act iii 

mind — yes, Mr. Mayor. He was undoubtedly under 
great strain yesterday; certain circumstances, domestic 

and otherwise 

Mayor. You mean that he might have been, as 
one might say, beside himself? 
Ralph. Exactly, sir. 
Mayor. Had you seen your brother.? 
Ralph. I had seen him shortly before this un- 
happy business. 

The Mayor nods and makes a gesture^ so tliat 
Maud and Ralph sit down; tlieny lean- 
ing aver, he confers in a low voice with 
Chantrey. The rest all sit or stand exactly 
as if each was the only person in the room, 
except the Journalist, who is writing busily 
and rather obviously making a sketch of 
Builder. 
Mayor. Miss Athene Builder. 

[Athene stands up. 

This young man, Mr. Herringhame, I take it, is a 

friend of the family's ? [A moment of some tension. 

Athene. N-no, Mr. Mayor, not of my father or 

mother. 

Chantrey. An acquaintance of yours ? 
Athene. Yes. 

Mayor. Very good. [He clears his throat] As the 
defendant, wrongly, we think, refuses to offer his 
explanation of this matter, the Bench has to decide 
on the h'evidence as given. There seems to be some 
discrepancy as to the blow which the constable un- 



SCI A FAMILY MAN 85 

doiibtedly received. In view of this, we incline to 

take the testimony of Mr. 

[Harris prompts him. 
Mr. 'Erringhame — as the partj' least inplicated per- 
sonally in the affair, and most likely to 'ave a cool 
and impartial view. That evidence is to the effect 
that the blow was accidental. There is no doubt, 
however, that the defendant used reprehensible lan- 
guage, and offered some resistance to the constable in 
the execution of his duty. Evidence 'as been offered 
that he was in an excited state of mind; and it is 
possible — I don't say that this is any palliation — but it 
is possible that he may have thought his position as 
magistrate made him — er 

Chantrey. [Prompting] Caesar's wife. 

Mayor. Eh.'* We think, considering all the cir- 
cumstances, and the fact that he has spent a night 
in a cell, that justice will be met by — er — discharging 
him with a caution. 

Builder. [With a deeply muttered] The devil you do ! 

Walks out of the roovi. The Journalist, 

grabbing his pad, starts up and follows. 

The Builders rise and huddle, and, with 

Herringhame, are ushered out by Harris. 

Mayor. [Pulling out a large handkerchief and wiping 
his forehead] My Aunt ! 

Chantrey. These new constables. Mayor! I say, 
Builder'll have to go ! Damn the Press, how they 
nose everything out ! The Great Unpaid ! — We shall 
get it again ! [He suddenly goes off into a Jit of laughter] 



86 A FAMILY MAN act m 

"Come off it," I says, "to the best of my recollection.'* 
Oh ! Oh ! I shan't hit a bird all day ! That poor devil 
Builder! It's no joke for him. You did it well. 
Mayor; you did it well. British justi'e is safe in your 
hands. He blacked the fellow's eye all right. "Which 
I herewith produce." Oh! my golly! It beats the 
band! 

His uncontrollable laughter and the JVIayor's 
rueful appreciation are exchanged with 
lightning rapidity for a preternatural solem- 
nity y as the door opens, admitting Sergeant 
Martin and the lugubrious object of their 
next attentions. 
Mayor. Charges. 

Sergeant steps forward to read the charge as 

The Cvhtain falls. 



SCENE II 

Noon the same day. 

Builder's study. Topping is standing by the open 
ivindow, looki7ig up and down the street. A news- 
paper boy^s voice is heard calling the first edition 
of his wares. It approaches from the Right. 
Topping. Here! 

Boy's Voice. Right, guv'nor! Johnny Builder up 
before the beaks ! 

[A paper is pushed up. 



8c.li A FAMILY MAN 87 

Topping. [Extending a penny] What's that you're 
sayin' ? You take care ! 

Bot's Voice. It's all 'ere. Johnny Builder — beatin' 
his wife ! Disc iwged. 

Topping. Stop it, you young limb ! 

Boy's Voice. 'Alio! What's the matter wiv you.^^ 
Why, it's Johnny Builder's house! [Gives a cat-call] 
'Ere, buy anuwer! 'E'll want to read about 'isself. 
[Appealing] Buy anuwer, guv'nor ! 

Topping. Move on ! 

He retreats from the window ^ opening the paper. 

Boy's Voice. [Receding] Payper ! First edition ! 
J.P. chawged ! Payper ! 

Topping. [To himself as he reads] Crimes! Phew! 
That accounts for them bein' away all night. 

While he is reading, Camille enters from the 
haU. 
Here ! Have you seen this. Camel — in the Stop Press .'• 

Camille. No. 

[They read eagerly side by side. 

Topping. [Finishing aloud] "Tried to prevent her 
father from forcing her mother to return home with 
him, and he struck her for so doing. She did not 
press the charge. The arrested gentleman, who said 
he acted under great provocation, was discharged 
with a caution." Well, I'm blowed! He has gone 
and done it! 

Camille. A black eye ! 

Topping. [Gazing at her] Have you had any hand 
in this ? I've seen you making your lovely black eyes 
at him. You foreigners — ^you're a loose lot ! 



88 A FAMILY IVIAN act m 

Camille. You are drunk ! 

Topping. Not yet, my dear. [Reveriing io the paper ; 
philosophkally] Well, this little lot's bust up! The 
favourites will fall down. Johnny Builder! Who'd 
have thought it? 

Camille. He is an obstinate man. 

Topping. Ah ! He's right up against it now. 
Comes of not knowin' when to stop bein' firm. If 
you meet a wall with your 'ead, it's any odds on the 
wall, Camel. Though, if you listened to some, you 
wouldn't think it. What'll he do now, I wonder .5* 
Any news of the mistress.^ 

Camille. [Shaking her head] I have pack her 
tr-runks. 

Topping. Why.'* 

Camille. Because she take her jewels yesterday. 

Topping. Deuce she did ! They generally leave 
'em. Take back yer gifts! She throws the baubles 
at 'is 'ead. [Again staring at her] You're a deep one, 
you know ! 

[There is the sound of a cab stopping. 
Wonder if that's him ! [He goes towards the hall. 

Camille watchfully shifts towards tlie dining- 
room door. Maud enters. 

Maud. Is my father back. Topping ? 

Topping. Not yet, Miss. 

Maud. I've come for mother's things. 

Camille. They are r-ready. 

Maud. [Eyeing her] Topping, get them down, please. 
Topping, after a look at them bothy goes out 
into the hall. 



sen A FAMILY MAN 89 

Very clever of you to have got them ready. 

Camille. I am clevare. 

IVIaud. [Almost to herself] Yes — father may, and he 
may not. 

Camille. Look! If you think I am a designmg 
woman, you are mistook. I know when thmgs are 
too 'ot. I am not sorry to go. 

]VL\UD. Oh! you are gomg? 

Camille. Yes, I am going. How can I stay when 
there is no lady in the 'ouse ? 

]\L\UD. Not even if you're asked to.'' 

CAanLLE. "Who will ask me ? 

Maud. That we shall see. 

Camille. Well, you will see I have an opinion of 
my own. 

Maud. Oh ! yes, you're clear-headed enough. 

Camille. I am not arguing. Good-morning ! 

[Exits up Left. 
Maud regards her stolidly as sJie goes out into 
the dining-rooin, then takes up the paper 
and reads. 

Maud. Horrible! 

[Topping re-enters from the hall. 

Topping. I've got 'em on the cab. Miss, I didn't 
put your ten bob on yesterday, because the animal 
finished last. You can't depend on horses. 

Maud. [Touching the newspaper] This is a frightful 
business. Topping. 

Topping. Ah ! However did it happen, Miss Maud ? 

Maud. [Tapping the newspaper] It's all true. He 
came after my mother to Miss Athene's, and I — I 



90 A FAMILY MAN act ni 

couldn't stand it. I did what it says here; and now 
I'm sorry. Mother's dreadfully upset. You know 
father as well as anyone, Topping; what do you think 
he'll do now ? 

Topping. [Sucking in his cheeks] Well, you see. 
Miss, it's like this: Up to now Mr. Builder's always 

had the respect of everybody 

[Maud moves her head impatiently. 
outside his own house, of course. Well, now he hasn't 
got it. Pishchologically that's bound to touch him. 

M\UD. Of course; but which way? Will he throw 
up the sponge, or try and stick it out here? 

Topping. He won't throw up the sponge. Miss; 
more likely to squeeze it down the back of their necks. 

Maud. He'll be asked to resign, of course. 

The Newspaper Boy's Voice is heard again 

' approaching: ** First edition! Great sensa- 

Hon! Local magistrate before the Bench! 

Pay-per!" 

Oh, dear! I wish I hadn't! But I couldn't see 

mother being 

Topping. Don't you fret, Miss; he'll come through. 
His jaw's above his brow, as you might say. 

Maud. What? 

Topping. [Nodding] Phreenology, Miss. I rather 
follow that. When the jaw's big and the brow is 
small, it's a sign of character. I always think the 
master might have been a Scotchman, except for 
his fishionomy. 

Maud. A Scotsman? 



sen A FAMILY MAN 91 

Topping. So down on anything soft. Miss. Haven't 
you noticed whenever one of these 'Umanitarians 
V\rrites to the papers, there's always a Scotchman 
after him next morning. Seems to be a fact of 'uman 
nature, like introducin' rabbits into a new country 
and then weasels to get rid of 'em. And then some- 
thing to keep down the weasels. But Z never can see 
what could keep down a Scotchman! You seem to 
reach the hapex there ! 

Maud. Miss Athene was married this morning. 
Topping. We've just come from the Registrar's. 

Topping. [Immovably] Indeed, Miss. I thought per- 
haps she was about to be. 

IMaud. Oh! 

Topping. Comin' events. I saw the shadder yester- 
day. 

Maud. Well, it's all right. She's coming on here 
with my uncle. 

[A cah is heard driving up. 
That's them, I expect. We all feel awful about father. 

Topping. Ah! I shouldn't be surprised if he feels 
awful about you, Miss. 

Maud. [At tlie window] It is them. 

Topping goes out into the hall; Athene and 
Ralph enter Right. 

Maud. Where's father. Uncle Ralph ? 

Ralph. With his solicitor. 

Athene. We left Guy with mother at the studio. 
She still thinks she ought to come. She keeps on 
saying she must, now father's in a hole. 



92 A FAMILY MAN act m 

Maud. I've got her things on the cab; she ought 
to be perfectly free to choose. 

Ralph. You've got freedom on the bram, Maud. 

Maud. So would you. Uncle Ralph, if you had 
father about. 

Ralph. I'm his partner, my dear. 

Maud. Yes; how do you manage him.^^ 

Ralph. I've never yet given him in charge. 

Athene. What do you do. Uncle Ralph ? 

Ralph. Undermine him when I can. 

Maud. And when you can't .^ 

Ralph. Undermine the other fellow. You can't 
go to those movie people now, Maud. They'd star 
you as the celebrated Maud Builder who gave her 
father mto custody. Come to us instead, and have 
perfect freedom, till all this blows over. 

Maud. Oh ! what will father be like now ? 

Athene. It's so queer you and he being brothers. 
Uncle Ralph. 

Ralph. There are two sides to every coin, my 
dear. John's the head — and I'm the tail. He has 
the sterling qualities. Now, you girls have got to 
smooth him down, and make up to him. You've 
tried him pretty high. 

Maud. [Stubbornly] I never wanted him for a father. 
Uncle. 

Ralph. They do wonderful things nowadays with 
inherited trouble. Come, are you going to be nice to 
him, both of you? 

Athene. We're going to try. 



Bc.ii A FAMILY MAN 93 

Ralph, Good! I don't even now understand how 
it happened. 

Maud. When you went out with Guy, it wasn't 
three minutes before he came. Mother had just 
told us about — well, about something beastly. Father 
wanted us to go, and we agreed to go out for five 
minutes while he talked to mother. We went, and 
when we came back he told me to get a cab to take 
mother home. Poor mother stood there looking like 
a ghost, and he began hunting and hauling her towards 
the door. I saw red, and instead of a cab I fetched 
that policeman. Of course father did black his eye. 
Guy was splendid. 

Athene. You gave him the lead. 

Maud. I couldn't help it, seeing father standing 
there all dumb. 

Athene. It was awful! Uncle, why didn't you 
come back with Guy ? 

Maud. Oh, yes ! why didn't you. Uncle ? 

Athene. "WTien jNIaud had gone for the cab, I 
warned him not to use force. I told him it was against 
the law, but he only said : "The law be damned !" 

Ralph. Well, it all sounds pretty undignified. 

Maud. Yes; every bod}'^ saw red. 

They have not seen the door opened from the 
hall, and Builder standing there. He is 
still unshaven, a little sunken in the face, 
with a glum, glowering expression. He ha^ 
a document in Ms hand. He advances a 
step or two and they see him. 



94 A FAMILY MAN act m 

Athene and IVL\ud. [Aghast] Father ! 

Builder. Ralph, oblige me! See them off the 

premises ! 

Ralph. Steady, John ! 

Builder. Go! 

Maud. [Proudly] All right ! We thought you might 

like to know that Athene's married, and that I've 

given up the movies. Now we'll go. 

Builder turns his back on therriy and, sitting 

down at his writing-table, writes. 

After a moment's whispered conversation with 

their Uricle, the two girls go out. 

Ralph Builder stands gazing loith whimsical 

commiseration at his brother's back. As 

Builder finishes writing, he goes up and 

jmts his hand on his brother's shoulder, 

Ralph. This is an awful jar, old man ! 

Builder. Here's what I've said to that fellow: — 

"Mr. Mayor,--You had the effrontery to-day 

to discharge me with a caution — forsooth! — your 

fellow-magistrate. I've consulted my solicitor as to 

whether an action will lie for false imprisonment. 

I'm informed that it won't. I take this opportunity 

of saying that justice in this town is a travesty. I 

have no wish to be associated further with you or 

your fellows; but you are vastly mistaken if you 

imagine that I shall resign my position on the Bench 

or the Town Council. — ^Yours, ,,^ ^ „ 

John Builder. 

Ralph. I say — keep your sense of humour, old boy. 



8c.n A FAMILY MAN 95 

Builder. [GriTnly] Humour? I've spent a night 
in a cell. See this! [He holds out the document] It 
disinherits my family. 

Rauph. John! 

Builder. I've done with those two ladies. As to 

my wife — if she doesn't come back ! When I 

suffer, I make others suffer. 

Ralph. Julia's very upset, my dear fellow; we all 
are. The girls came here to try and 

Builder. [Rising] They may go to hell! If that 
lousy Mayor thinks I'm done with — he's mistaken! 
[He rings the bell] I don't want any soft sawder. I'm 
a fighter. 

Ralph. [In a low voice] The enemy stands within 
the gate, old chap. 

Builder. What's that? 

Ralph. Let's boss our own natures before we boss 
those of other people. Have a sleep on it, John, 
before you do anything. 

Builder. Sleep? I hadn't a wink last night. If 
you'd passed the night I had 

Ralph. I hadn't many myself, 

[Topping enters. 

Builder. Take this note to the Mayor with my 
compliments, and don't bring back an answer. 

Topping. Very good, sir. There's a gentleman from 
the "Comet" in the hall, sir. Would you see him 
for a minute, he says. 

Builder. Tell him to go to 

A voice says, ''Mr. BuHderr Builder turns 



96 A FAMILY MAN act m 

to see the figure of the Journalist in the hall 
doorway. Topping goes out. 

Journalist. [Advancing with his card] Mr. Builder, 
it's very good of you to see me. I had the pleasure 
this morning — ^I mean — I tried to reach you when 
you left the Mayor's. I thought you would probably 
have your own side of this unfortunate matter. We 
shall be glad to give it every prominence. 

Topping has withdrawn, and Ralph Builder, 
at the loindow, stands listening. 

Builder. [Drily, regarding the Journalist, who has 
spoken in a pleasant and polite voice] Very good of 
you! 

Journalist. Not at all, sir. We felt that you 
would almost certainly have good reasons of your 
own which would put the matter in quite a different 
light. 

Builder. Good reasons.? I should think so! I 
tell you — a very little more of this liberty — licence I 
call it — and there isn't a man who'll be able to call 
himself head of a family. 

Journalist. [Encouragingly] Quite! 

Builder. If tlie law thinks it can back up revolt, 
it's damned well mistaken. I struck my daughter — 
I was in a passion, as you would have been. 

Journalist. [Encouraging] I'm sure 

Builder. [Glaring at him] Well, I don't know that 
you would; you look a soft sort; but any man with 
any blood in liim. 

Journalist. Can one ask v/hat she was doing, 
sir ? We couldn't get that point quite clear. 



sc.ii A FAMILY MAN 97 

Builder. Doing? I just had my arm round my 
wife, trying to induce her to come home with me 
after a little family tiff, and this girl came at me. I 
lost my temper, and tapped her with my cane. And — 
that policeman brought by my own daughter — a 
policeman ! If the law is going to enter private houses 
and abrogate domestic authority, where the hell shall 
we he? 

Journalist. [Encouraging] No, I'm sure — I'm sure ! 

Builder. The maudlin sentimentality in these 
days is absolutely rotting this country. A man 
can't be master in his own house, can't require his 
wife to fulfil her duties, can't attempt to control the 
conduct of his daughters, without coming up against 
it and incurring odium. A man can't control his 
employees; he can't put his foot down on rebellion 
anywhere, without a lot of humanitarians and licence- 
lovers howling at him. 

Journalist. Excellent, sir; excellent ! 

Builder. Excellent? It's damnable. Here am I — 
a man who's always tried to do his duty in private life 
and public — brought up before the Bench — my God! 
because I was doing that duty; with a little too much 
zeal, perhaps — I'm not an angel ! 

Journalist. No ! No ! of course. 

Builder. A proper Englishman never is. But there 
are no proper Englishmen nowadays. 

[Fie crosses the room in his fervour, 

Ralph. [Suddenly] As I look at faces 

Builder. [Absorbed] What! I told this young man 
I wasn't an angel. 



98 A FAMILY MAN act m 

Journalist. [Draioing him oji] Yes, sir; I quite 
understand. 

Builder. If the law thinks it can force me to be 
one of your weak-kneed sentimentalists who let every- 
body do what they like 

Ralph. There are a good many who stand on their 
rights left, John. 

Builder. [Absorbed] What! How can men stand 
on their rights left? 

Journalist. I'm afraid you had a painful experi- 
ence, sir. 

Builder. Every kind of humiliation. I spent the 
night in a stinking cell. I haven't eaten since break- 
fast yesterday. Did they think I was going to eat the 
muck they shoved in.? And all because in a moment 
of anger — which I regret, I regret! — I happened to 
strike my daughter, who was interfering between me 
and my wife. The thing would be funny if it weren't 
so disgusting. A man's house used to be sanctuary. 
What is it now.?^ With all the world poking their 
noses in.'* 

He stands before the fire with his head bent, 
excluding as it were his interviewer and all 
the world. 

Journalist. [Preparing to go] Thank you very 
much, Mr. Builder. I'm sure I can do you justice. 
Would you like to see a proof .'^ 

Builder. [Half conscious of him] What ? 

Journalist. Or will you trust me? 

Builder. I wouldn't trust you a yard. 



sen A FAMILY MAN 99 

Journalist. [At the door] Very well, sir; you shall 
have a proof, I promise. Good afternoon, and thank 
you. 
Builder. Here! 

But he is gone, and Builder is left staring at 
his brother, on whose face is still that look 
of whimsical commiseration, 
Ralph. Take a pull, old man! Have a hot bath 
and go to bed. 

Builder. They've chosen to drive me to extremes, 
now let them take the consequences. I don't care 
a kick what anybody thinks. 

Ralph. [Sadly] Well, I won't worry you any more, 
now. 

Builder. [With a nasty laugh] No; come again 
to-morrow ! 

Ralph. When you've had a sleep. For the sake 
of the family name, John, don't be hasty. 

Builder. Shut the stable door.? No, my boy, the 
horse has gone. 
Ralph. Well, well ! 

With a lingering look at his brother, who has 
sat down sullenly at the writing-table, he 
goes out into the hall. 
Builder remains staring in front of him. 
The dining-room door opens, and Camille's 
head is thrust in. Seeing him, she dravjt 
back, bui he catches sight of her. 
Builder. Here! 

Camillb comes doubtfully up to the writing^ 



100 A FAMILY MAN act m 

table. Her forehead is puckered as if she 
were thinking hard. 
Builder. [Looking at her, unsmiling] So you want 
to be my mistress, do you ? 

[Camille makes a nervous gesture. 
Well, you shall. Come here. 

Camille. [Not moving] You f-frightcn me. 
Builder. I've paid a pretty price for you. But 
you'll make up for it; you and others. 

Camille. [Starting hack] No; I don't like you 
to-day ! No ! 

Builder. Come along! [Slie is just within reach 
and he seizes her arm] All my married life I've put 
a curb on myself for the sake of respectability. I've 
been a man of principle, my girl, as you saw yesterday. 
Well, they don't want that ! [He draws her chse] You 
can sit on my knee now. 

Camille. [Shrinking] No; I don't want to, to-day. 
Builder. But you shall. They've asked for it ! 
Camille. [With a supple movement slipping aicay 
from him] They? What is all that.^ I don't want 
any trouble. No, no; I am not taking any. 

She moves back towards the door. Builder 
utters a sardonic laugh. 
Oh ! you are a dangerous man ! No, no ! Not for 
me! Good-bye, sare! 

[She turns swiftly and goes out. 

Builder again utters his glum laugh. And 

then, as he sits alone staring before him, 

perfect silence reigns in the room. Over 



sen A FAMILY MAN 101 

the window-sill behind him a Boy's face is 
seen to rise; it hangs there a moment with 
a grin spreading on it. 
BoY*s Voice. [Sotto] Johnny Builder ! 

[As Builder turns sharply y it vanishes. 
'Oo beat 'is wife ? 

[Builder rushes to the loindow. 
Boy's Voice. [More distant and a little tentative] 
Johnny Builder ! 

Builder. You little devil! If I catch you, I'll 
wring your blasted little neck ! 

Boy's Voice. [A little distant] 'Oo blacked the 
copper's eye.? 

Builder, in an ungovernable passion, seizes 
a small flower-pot from the sill and flings 
it with all his force. The sound of a crash. 
Boy's Voice. [Very distant] Ya-a-ah ! Missed ! 

Builder stands leaning out, face injected with 
blood, shaking his fist. 

The Curtain falls for a few seconds. 



SCENE in 

Evening the same day. 

Builder's study is dim and neglected-looking ; the 

loindow is still open, though it has become night. 

A street lamp outside shines in, and the end of its 



102 A FAMILY MAN act m 

rays fall on Builder asleep. He is sitting in a 
high chair at the fireside end of the vyriting -table y 
with his elbows on it, and his cheek resting on his 
hand. He is still unshaven, and his clothes un- 
changed. A Boy's head appears above the level 
of the vnndoW'Sill, as if beheaded and fastened 
there. 

Boy's Voice. [In a forceful whisper] Johnny Builder ! 
BuiiJ)ER stirs uneasily. The Boy's head 
vanishes. Builder, raising his other hand, 
makes a sweep before his face, as if to 
brush away a mosquito. He wakes. Takes 
in remembrance, and sits a moment staring 
gloomily before him. The door from the hall 
is opened and Topping conies in with a long 
envelope in his hand. 
Topping. [Approaching] From the "Comet," sir. 
Proof of your interview, sir; will you please revise, 
the messenger says; he wants to take it back at once. 
Builder. [Taking it] All right. I'll ring. 
Topping. Shall I close in, sir ? 
Builder. Not now. 

[Topping withdraws. 
Builder turns up a standard lamp on the 
table, opens the envelope, and begins read- 
ing the galley slip. The signs of utieasiness 
and discomfort grow on him. 
Builder. Did I say that.? Muck! Muck! [He 
drops the proof, sits a moment moving his head and 
rubbing one hand uneasily on the surface of the table. 



sc.m A FAMILY MAN 103 

then reaches out for the telephone receiver] Town, 245. 
[Pause] The "Comet"? John Builder. Give me the 
Editor. [Pause] That you, Mr. Editor ? John Builder 
speaking. That interview. I've got the proof. It 
won't do. Scrap the whole tiling, please. I don't 
want to say anything. [Pause] Yes. I know I said 
it all; I can't help that. [Pause] No; I've changed my 
mind. Scrap it, please. [Pause] No, I will not say 
anything. [Pau^e] You can saj'^ what you dam' well 
please. [Pause] I mean it; if you put a word into my 
mouth, I'll sue you for defamation of character. It's 
undignified muck. I'm tearing it up. Good-night. 
[He replaces the receiver ^ and touches a bell; then, taking 
up the galley slip, he tears it viciously across into many 
pieces, and rams them into the envelope. 

[Topping enters. 
Here, give this to the messenger — ^sharp, and tell him 
to run with it. 

Topping. [Whose hand can feel the condition of the 
contents, vnth a certain surprise] Yes, sir. 

[He goes, iviih a look hack from the door. 
The Mayor Is here, sir. I don't know whether you 

would wish 

Builder, rising, takes a turn up and down 
the room. 
Builder. Nor do I. Yes ! I'll see him. 

Topping goes out, and Builder stands over 
by the fender, with his head a little down. 
Topping. [Re-entering] The Mayor, sir. 

[He retires up Left. 
The Mayor is overcoated, and carries, of all 



104 A FAMILY JNIAN acthi 

things, a top hat. He reaches the centre of 
the room before he speaks. 

Mayor. [Einbarrassed] Well, Builder? 

Builder. Well.? 

Mayor. Come! That caution of mine was quite 
parliamentary. I 'ad to save face, you know. 

Builder. And what about my face.? 

Mayor. Well, you — ^you made it difficult for me. 
'Ang it all ! Put yourself into my place ! 

Builder. [Grimly] I'd rather put you into mine, 
as it was last night. 

Mayor. Yes, yes! I know; but the Bench has 
got a name to keep up — must stand well in the people's 
eyes. As it is, I sailed very near the wind. Suppose 
we had an ordinary person up before us for striking a 
woman ? 

Builder. I didn't strike a woman — ^I struck my 
daughter. 

Mayor. Well, but she's not a child, you know. 
And you did resist the police, if no worse. Come ! 
You'd have been the first to maintain British justice. 
Shake 'ands! 

Builder. Is that what you came for.? 

Mayor. [Taken hack] Why — ^yes; nobody can be 
more sorry than I 

Builder. Eye-wash! You came to beg me to 
resign. 

Mayor. Well, it's precious awkward, Builder. We 
all feel 

Builder. Save your powder. Mayor. I've slept 



sc.m A FAMILY MAN 105 

on it since I wrote you that note. Take my resig- 
nations. 

Mayor. [In relieved embarrassment] That's right. 
We must face your position. 

Builder. [With a touch of grim humour] I never yet 
met a man who couldn't face another man's position. 
]V£\YOR. After all, what is it.? 

Builder. Splendid isolation. No wife, no daugh- 
ters, no Councillorship, no Magistracy, no future — 
[With a laugh] not even a French maid. And why.? 
Because I tried to exercise a little wholesome family 
authority. That's the position you're facing. Mayor. 
Mayor. Dear, dear ! You're devilish bitter. Builder. 
It's unfortunate, this publicity. But it'll all blow 
over; and you'll be back where you were. You've a 
good sound practical sense underneath your temper. 
[A pau^e] Come, now ! [A pause] Well, I'll say good- 
night, then. 

Builder. You shall have them in writing to-morrow. 
Mayor. [With sincerity] Come! Shake 'ands. 

Builder, after a long look, holds out his hand. 
The two men exchange a grip. The JVIayor, 
turning abruptly, goes out. 
Builder remains motionless for a minute, 
then resumes his seat at the side of the writing- 
tqble, leaning his head on his hands. 
The Boy's head is again seen rising above the 
level of the ivindow-sill, and another and 
another follows, till the three, as if decapi- 
tated, heads are seen in a row. 
Boys' Voices. [One after another in a whispered. 



106 A FAMILY MAN act m 

crescendo] Johnny Builder ! Johnny Builder ! Johnny 
Builder ! 

Builder rises, turns and stares at them. The 
Three Heads disappear, and a Boy's 
voice cries shrilly: *' Johnny Builder!'^ 
Builder moves towards the window; voices 
are now crying in various pitches and keys: 
** Johnny Builder!'" " Beatey Builder I'* 
"Beat 'is wife-er!"' "Beatey Builder T' 
Builder stands quite motionless, staring, 
with the street lamp lighting up a qu£er, 
rather pitiful defiance on his face. The 
voices swell. There comes a sudden swish 
and splash of water, and broken yells of dis- 
may. 
Topping's Voice. Scat ! you young devils ! 

The sound of scuffling feet and a long-drawn- 
out and discard *' Miaou!'* 
Builder stirs, shuts the window, draws the 
curtains, goes to the armchair before the 
fireplace and sits down in it. 
Topping enters with a little tray on which is 
a steaming jug of fluid, some biscuits and 
a glass. He comes stealthily up level with 
tlie chair. Builder stirs and looks up at 
him. 
Topping. Excuse me, sir, you must 'ave digested 
yesterday morning's breakfast by now — must live 
to eat, sir. 

Builder. All right. Put it down. 

Topping. [Putting the tray down on the table and 



sc.m A FAMILY MAN 107 

taking up Builder's pi'pe] I fair copped those young 
devils. 

Builder. You're a good fellow. 

Topping. [Filling the pipe] You'll excuse me, sir; 

the Missis — has come back, sir 

Builder stares at him and Topping stops. 
He hands Builder the filled pipe and a 
box of matches. 
Builder. [With a shiver] Light the fire. Topping. 
I'm chilly. 

While Topping lights the fire Builder pids 
the pipe in his mouth and applies a match 
to it. Topping, having lighted the fire, 
turns to go, gets as far as half way, then 
comes hack level with the table and regards 
the silent brooding figure in the chair. 
Builder. [Suddenly] Give me that paper on the 
table. No; the other one — the Will. 

Topping takes up the Will and gives it to him. 
Topping. [With much hesitation] Excuse me, sir. 
It's pluck that get's 'em 'ome, sir — begging your 
pardon. 

Builder has resumed his attitude and does 
not answer. 
[In a voice just touched with feeling] Good-night, sir. 
Builder. [Without turning his head] Good-night. 

[Topping has gone. 

Builder sits drawing at his pipe between the 

firelight and the light from the standard 

lamp. He takes the pipe out of his mouth 

and a quiver passes over his face. With 



108 A FAMILY MAN acthi 

a half angry gesture he rubs the back of his 
hand across his eyes. 
Builder. [To himself] Pluck! Pluck! [His lips 
quiver again. He presses them hard togethery puis 
his pipe back into his mouthy and, taking the Willy 
thrusts it into the newly4ighted Jire and holds it there 
with a poker]. 

While he is doing this the door from tJie hall 
is opened quietly y and Mrs. Builder enters 
without his hearing her. She has a work- 
bag in her hand. She moves slowly to the 
table, and stands looking at him. Then going 
up to the curtains she mechanically adjusts 
them, and still keeping her eyes on Builder, 
comes down to the table and pours out his 
usual glass of whisky toddy. Builder, 
who has become conscious of her presence, 
turns in his chair as she hands it to him. 
He sits a moment motionless, then takes it 
from her, and squeezes Iter hajid. Mrs. 
Builder goes silently to her usual chair 
below the jire, and taking out some knitting 
begins to knit. Builder makes an effort 
to speaky does not succeed, and sits drawing 
at his pipe. 

The CxmTAm falls. 



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